MX300 User Guide: Stereo Reverb Effects Procesor

MX300 Stereo Reverb
Effects Procesor
MX300
User
Guide
IMPORTANT SAFETY INSTRUCTIONS
WARNING FOR YOUR PROTECTION
READ THE FOLLOWING:
READ THESE INSTRUCTIONS.
KEEP THESE INSTRUCTIONS.
HEED ALL WARNINGS.
FOLLOW ALL INSTRUCTIONS.

The symbols shown above are internationally accepted symbols
that warn of potential hazards with electrical products. The DO NOT USE THIS APPARATUS NEAR WATER.
lightning flash with arrowpoint in an equilateral triangle means
that there are dangerous voltages present within the unit. The
exclamation point in an equilateral triangle indicates that it is CLEAN ONLY WITH A DRY CLOTH.
necessary for the user to refer to the owner’s manual.
FOR INDOOR USE ONLY.
These symbols warn that there are no user serviceable parts inside
the unit. Do not open the unit. Do not attempt to service the unit DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN ACCORDANCE
yourself. Refer all servicing to qualified personnel. Opening the WITH THE MANUFACTURER’S INSTRUCTIONS.
chassis for any reason will void the manufacturer’s warranty. Do
not get the unit wet. If liquid is spilled on the unit, shut it off DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS, HEAT REGISTERS,
immediately and take it to a dealer for service. Disconnect the unit STOVES, OR OTHER APPARATUS (INCLUDING AMPLIFIERS) THAT PRODUCE HEAT.
during storms to prevent damage.
ONLY USE ATTACHMENTS/ACCESSORIES SPECIFIED BY THE MANUFACTURER.
The following is indicative of low altitude
use; do not use this product above UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR
2000m. LONG PERIODS OF TIME.
Do not defeat the safety purpose of the polarized or grounding-type plug. A

polarized plug has two blades with one wider than the other. A grounding type
plug has two blades and a third grounding prong. The wide blade or third prong are
U.K. MAINS PLUG WARNING provided for your safety. If the provided plug does not fit your outlet, consult an
electrician for replacement of the obsolete outlet.
A molded mains plug that has been cut off from the cord is
unsafe. Discard the mains plug at a suitable disposal facility. Protect the power cord from being walked on or pinched particularly at plugs,
NEVER UNDER ANY CIRCUMSTANCES SHOULD YOU convenience receptacles, and the point where they exit from the apparatus.
INSERT A DAMAGED OR CUT MAINS PLUG INTO A Use only with the cart stand, tripod bracket, or table specified
13 AMP POWER SOCKET. by the manufacture, or sold with the apparatus. When a
Do not use the mains plug without the fuse cover in place. cart is used, use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
Replacement fuse covers can be obtained from your local retailer.
Replacement fuses are 13 amps and MUST be ASTA approved Refer all servicing to qualified service personnel. Servicing is required when the
apparatus has been damaged in any way, such as power-supply cord or plug is
to BS1362.
damaged, liquid has been spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not operate normally, or
has been dropped.
If you want to dispose this product, do not mix it with general
household waste. There is a separate collection system for used POWER ON/OFF SWITCH: The Power switch used in this piece of equipment DOES
electronic products in accordance with legislation that requires proper NOT break the connection from the mains.
treatment, recovery and recycling.
MAINS DISCONNECT: The plug shall remain readily operable. For rack-mount or
Private households in the 25 member states of the EU, in Switzerland and Norway
may return their used electronic products free of charge to designated collection installation where plug is not accessible, an all-pole mains switch with a contact
facilities or to a retailer (if you purchase a similar new one). separation of at least 3 mm in each pole shall be incorporated into the electrical
installation of the rack or building.
For Countries not mentioned above, please contact your local authorities for a correct
method of disposal. If connected to 240V supply, a suitable CSA/UL certified power cord shall be used
for this supply.
By doing so you will ensure that your disposed product undergoes the necessary
treatment, recovery and recycling and thus prevent potential negative effects on the This Equipment is intended for rack mount use only.
environment and human health.
IMPORTANT SAFETY INSTRUCTIONS
ELECTROMAGNETIC COMPATIBILITY DECLARATION OF CONFORMITY
This device complies with part 15 of the FCC Rules and Manufacturer’s Name: Lexicon Professional 
the Product Specifications noted on the Declaration of Manufacturer’s Address: 10653 South River Front Parkway
Conformity. Operation is subject to the following two
Suite 300 South Jordan, Utah
conditions:
84095, USA
• this device may not cause harmful interference, and
declares that the product:
• this device must accept any interference received, including
interference that may cause undesired operation.
Product name: Lexicon MX300
Note: Product name may be suffixed by the EU.
Operation of this unit within significant electromagnetic fields
should be avoided.
Product option: None
• use only shielded interconnecting cables.
conforms to the following Product Specifications:
SAFETY INSTRUCTIONS Safety: IEC 60065 -01+Amd 2

NOTICE FOR CUSTOMERS IF YOUR UNIT IS EQUIPPED WITH A POWER CORD.
EMC: EN 55022:2006
WARNING: THIS APPLIANCE SHALL BE CONNECTED TO A MAINS SOCKET OUTLET WITH A
EN 55024:1998
PROTECTIVE EARTHING CONNECTION.
FCC Part 15
THE CORES IN THE MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOW-
ING CODE: Supplementary Information:
GREEN AND YELLOW - EARTH BLUE - NEUTRAL BROWN - LIVE
The product herewith complies with the requirements of the:
AS COLOURS OF THE CORES IN THE MAINS LEAD OF THIS APPLIANCE MAY NOT CORRE- Low Voltage Directive 2006/95/EC
SPOND WITH THE COLOURED MARKINGS IDENTIFYING THE TERMINALS IN YOUR PLUG, EMC Directive 2004/108/EC.
PROCEED AS FOLLOWS:
RoHS Directive 2011/65/EC
• T HE CORE WHICH IS COLOURED GREEN AND YELLOW MUST BE CONNECTED TO THE WEEE Directive 2002/96/EC
TERMINAL IN THE PLUG MARKED WITH THE LETTER E, OR WITH THE EARTH SYMBOL,
OR COLOURED GREEN, OR GREEN AND YELLOW. With regard to Directive 2005/32/EC and EC Regulation
• THE CORE WHICH IS COLOURED BLUE MUST BE CONNECTED TO THE TERMINAL
1275/2008 of 17 December 2008, this product is
MARKED N OR COLOURED BLACK.
• THE CORE WHICH IS COLOURED BROWN MUST BE CONNECTED TO THE TERMINAL designed, produced, and classified as Professional Audio
MARKED L OR COLOURED RED. Equipment and thus is exempt from this Directive.
THIS EQUIPMENT MAY REQUIRE THE USE OF A DIFFERENT LINE CORD, ATTACHMENT
Rex C. Reed
PLUG, OR BOTH, DEPENDING ON THE AVAILABLE POWER SOURCE AT INSTALLATION.
IF THE ATTACHMENT PLUG NEEDS TO BE CHANGED, REFER SERVICING TO QUALIFIED Director, Engineering
SERVICE PERSONNEL WHO SHOULD REFER TO THE TABLE BELOW. THE GREEN/YELLOW Signal Processing
WIRE SHALL BE CONNECTED DIRECTLY TO THE UNITS CHASSIS. 10653 South River Front Parkway
WIRE COLOR
Suite 300
CONDUCTOR
L LIVE
Normal
BROWN
Alt
BLACK
South Jordan, Utah 84095, USA
N NEUTRAL BLUE WHITE Date: August 15, 2014
E EARTH GND GREEN/YEL GREEN
European Contact: Your local Lexicon Sales and Service Office or:
WARNING: IF THE GROUND IS DEFEATED, CERTAIN FAULT CONDITIONS IN THE UNIT
OR IN THE SYSTEM TO WHICH IT IS CONNECTED CAN RESULT IN FULL LINE VOLTAGE
BETWEEN CHASSIS AND EARTH GROUND. SEVERE INJURY OR DEATH CAN THEN RESULT Harman Signal Processing
IF THE CHASSIS AND EARTH GROUND ARE TOUCHED SIMULTANEOUSLY. 10653 South River Front Parkway
Suite 300
WARNING:
• APPARATET MÅ TILKOPLES JORDET STIKKONTAKT. South Jordan, Utah 84095, USA
• APPARATEN SKALL ANSLUTAS TILL JORDAT UTTAG. Ph: (801) 566-8800
• LAITE ON LIITETTÄVÄ SUOJAKOSKETTIMILLA VARUSTETTUUN PISTORASIAAN. Fax: (801) 568-7583
CONSIGNES DE SÉCURITÉ IMPORTANTES
AVERTISSEMENT POUR VOTRE SÉCURITÉ 
LIRE ATTENTIVEMENT :
 
LIRE CES CONSIGNES.
CONSERVER CES CONSIGNES. 
RESPECTER TOUS LES AVERTISSEMENTS. 
SUIVRE TOUTES LES CONSIGNES. 

Les symboles illustrés ci-dessus sont des symboles acceptés
NE PAS UTILISER CET APPAREIL PRÈS DE L’EAU.
internationalement qui avertissent des dangers potentiels relatifs à
l’utilisation de produits électriques. Le voyant clignotant avec une flèche
NETTOYER UNIQUEMENT AVEC UN CHIFFON SEC. 
dans un triangle équilatéral signifie la présence de tensions dangereuses
dans l'appareil. Le point d’exclamation dans un triangle équilatéral indique
POUR USAGE INTÉRIEUR UNIQUEMENT. 
que l’utilisateur doit se référer au manuel d'utilisation. 
  NE PAS OBSTRUER LES OUÏES D’AÉRATION. EFFECTUER L’INSTALLATION
Ces symboles indiquent qu’il n’y a aucune pièce utilisable par l’utilisateur CONFORMÉMENT AUX INSTRUCTIONS DU FABRICANT. 
à l’intérieur de l’appareil. Ne pas ouvrir l’appareil. Ne pas essayer de
réparer soi-même l’appareil. Confier toute réparation à du personnel NE PAS INSTALLER À PROXIMITÉ DE SOURCES DE CHALEUR TELLES QUE DES
qualifié. Ouvrir la structure de l’appareil pour quelque raison que ce soit RADIATEURS, BOUCHES D’AÉRATION, PLAQUES CHAUFFANTES OU TOUT AUTRE
annulera la garantie du fabricant. Ne pas mouiller l’appareil. Si du liquide APPAREIL (Y COMPRIS DES AMPLIFICATEURS) DÉGAGEANT DE LA CHALEUR. 
est renversé sur l’appareil, fermer immédiatement l’appareil et l’apporter
chez un réparateur. Débrancher l’appareil pendant les tempêtes afin d’éviter UTILISER UNIQUEMENT LES PIÈCES/ACCESSOIRES MENTIONNÉS PAR LE
des dommages.  FABRICANT. 
Ce qui suit est représentatif d’une utilisation à DÉBRANCHER L'APPAREIL AU COURS DES ORAGES OU EN CAS DE NON-UTILISATION
basse altitude ; ne pas utiliser ce produit au- PENDANT UNE DURÉE PROLONGÉE. 
dessus de 2000 m.
Ne pas détériorer la sécurité de la fiche polarisée ou de la fiche de terre. Les fiches
polarisées sont équipées de deux bornes de largeurs différentes. Les fiches de terre
comportent deux lames et une troisième broche de mise à la terre. La broche la
AVERTISSEMENT CONCERNANT plus large ou troisième broche de mise à la terre est prévue pour votre sécurité. Si
LA FICHE SECTEUR la fiche fournie ne correspond pas à votre installation électrique, faire appel à un
électricien pour remplacer la prise hors normes. 
Une fiche secteur moulée qui a été coupée du cordon est dangereuse. Jeter
Protéger le cordon d'alimentation contre les risques de piétinement ou de
la fiche secteur dans un centre de déchets adapté.  pincement, notamment au niveau des fiches, des prises de courant et du point
VOUS NE DEVEZ EN AUCUNE CIRCONSTANCE INSÉRER d'attache avec le matériel. 
UNE FICHE ENDOMMAGÉE OU COUPÉE DANS UNE PRISE
Utiliser uniquement le chariot, le support, le trépied ou la
SECTEUR 13 AMP.  table spécifié(e) par le fabricant ou vendu(e) avec le matériel.
Ne pas utiliser la fiche secteur si le couvercle du coffret à fusibles n'est Si vous utilisez un chariot pour déplacer l'appareil, soyez
suffisamment prudent pour éviter une éventuelle blessure
pas bien en place. Vous pouvez vous procurer des capots de fusible de consécutive au basculement du chariot et de sa charge. 
rechange auprès de votre détaillant local. Les fusibles de remplacement  
sont de 13 A et DOIVENT être approuvés ASTA, BS1362. Les réparations doivent être confiées à un technicien S.A.V. qualifié. Une
réparation est nécessaire en cas de dommage quelconque et en particulier en cas
d'endommagement du cordon d’alimentation ou de la fiche électrique, d'infiltration
liquide, d'introduction involontaire d'un objet dans l'appareil, d'exposition de
Ne pas jeter ce produit avec les ordures ménagères. Il existe un l’appareil à la pluie ou à un milieu humide, de fonctionnement anormal ou de
système de collecte sélective pour les produits électroniques usagés chute de l'appareil. 
en conformité avec les lois en vigueur en matière de traitement, de  
récupération et de recyclage. INTERRUPTEUR MARCHE/ARRÊT : l'interrupteur d'alimentation de cet équipement
NE coupe PAS la connexion secteur. 
Dans les 25 États membres de l’UE, en Norvège et en Suisse, les ménages peuvent  
envoyer leurs produits électroniques usagés sans frais vers des centres de collecte DÉBRANCHEMENT DE L'APPAREIL : la prise de courant doit rester facilement
sélective ou chez un distributeur (contre l’achat d’un nouveau produit).  accessible. Pour un montage en rack ou une installation avec une prise inaccessible,
  un interrupteur omnipolaire à distance d'ouverture de contact d'au moins 3 mm doit
Contacter les autorités locales pour connaître les procédures de traitement des être intégré à l’installation électrique du rack ou du local. 
déchets adaptées dans les pays non mentionnés ci-dessus. 
   
Non seulement cette précaution vous permettra d’être sûr que votre produit est Si le matériel est relié à une alimentation de 240 V, utiliser impérativement un
correctement traité, récupéré et recyclé, cordon d'alimentation adapté certifié CSA/UL pour ce branchement. 
mais elle vous évitera également de nuire involontairement à l’environnement et à  
la santé humaine. Cet équipement est exclusivement destiné à un montage en rack. 
CONSIGNES DE SÉCURITÉ IMPORTANTES
COMPATIBILITÉ ÉLECTROMAGNÉTIQUE   DÉCLARATION DE CONFORMITÉ 
Cet appareil est conforme au volet 15 des règles du FCC et Nom du fabricant : Lexicon Professional 
aux spécifications techniques évoquées dans la Déclaration Adresse du fabricant : 10653 South River Front Parkway 
de conformité. Son fonctionnement est soumis aux deux Suite 300 South Jordan, Utah
conditions suivantes :  84095, ÉTATS-UNIS  
 
• cet appareil ne doit pas causer d’interférences nuisibles et déclare que le produit : 
• cet appareil doit accepter les interférences captées, y compris les  
interférences susceptibles de nuire à son fonctionnement.
Nom du produit : Lexicon MX300
Remarque : Le nom du produit peut être suivi des lettres UE. 
L’utilisation de cet appareil à proximité de champs électromagnétiques
 Option du produit : Aucune 
puissants n’est pas recommandée.
 
• utiliser exclusivement des câbles d’interconnexion blindés. est conforme aux spécifications suivantes : 
 
Sécurité : CEI/IEC 60065:2001 + Amd 2 
CONSIGNES DE SÉCURITÉ  
NOTICE ADRESSÉE AUX CONSOMMATEURS ÉQUIPÉS D’UN MATÉRIEL AVEC CORDON CEM : EN 55022:2006  
D’ALIMENTATION FOURNI.  EN 55024:1998 
 AVERTISSEMENT : CET APPAREIL DOIT ÊTRE BRANCHÉ SUR UNE PRISE SECTEUR DOTÉE
D'UNE PROTECTION PAR MISE À LA TERRE.  Partie 15 des FCC 
   
LES COULEURS DES NOYAUX DANS LES FILS SECTEURS DOIVENT RESPECTER LES CODES Informations complémentaires : 
SUIVANTS : 
 
 
VERT ET JAUNE - TERRE BLEU - NEUTRE MARRON - PHASE  Ce produit est conforme aux exigences suivantes : 
  Directive sur la basse tension 2006/95/CE 
LES COULEURS DES NOYAUX DANS LES FILS SECTEURS DE CET APPAREIL PEUVENT NE Directive 2004/108/CE. 
PAS CORRESPONDRE AUX INSCRIPTIONS COLORÉES IDENTIFIANT LES TERMINAUX DANS
VOTRE FICHE ; IL FAUT DONC PROCÉDER DE LA FAÇON SUIVANTE :  Directive RoHS 2011/65/UE 
  Directive DEEE 2002/96/CE  
• LE NOYAU VERT ET JAUNE DOIT ÊTRE BRANCHÉ AU TERMINAL DE LA FICHE OÙ AP-  
PARAÎT LA LETTRE E OU LE SYMBOLE DE MISE À LA TERRE, OU AU TERMINAL VERT
OU VERT ET JAUNE. 
Ce produit appartenant à la catégorie Matériel audio
• LE NOYAU BLEU DOIT ÊTRE BRANCHÉ AU TERMINAL MARQUÉ D’UN N OU DE COU- professionnel, il n'est pas concerné par la directive
LEUR NOIRE.  2005/32/CE ou par le règlement européen 1275/2008
• LE NOYAU MARRON DOIT ÊTRE BRANCHÉ AU TERMINAL MARQUÉ D’UN L OU DE du 17 décembre 2008. 
COULEUR ROUGE. 
   
CE MATÉRIEL PEUT NÉCESSITER L’UTILISATION D’UN CORDON D’ALIMENTATION DIF- Rex C. Reed 
FÉRENT ET/OU D’UNE FICHE DE BRANCHEMENT DIFFÉRENTE SELON LA SOURCE Directeur, Ingénierie 
D’ALIMENTATION DISPONIBLE À L’INSTALLATION. SI LA FICHE DE BRANCHEMENT DOIT
ÊTRE CHANGÉE, FAIRE APPEL À UN TECHNICIEN QUALIFIÉ QUI DEVRA SE RÉFÉRER AU Traitement des signaux 
TABLEAU CI-DESSOUS. LE FIL VERT/JAUNE DOIT ÊTRE BRANCHÉ DIRECTEMENT AU CHÂS- 10653 South River Front Parkway 
SIS DE L'APPAREIL.  Suite 300 
 
COULEUR DU FIL
South Jordan, Utah 84095, ÉTATS-UNIS  
CONNECTEURS
L PHASE
normal
MARRON
Alt
NOIR
Date : 15 août 2014  
N NEUTRE BLEU BLANC  
E TERRE VERT/JAU VERT
Contact en Europe : votre revendeur Lexicon local et le bureau
 
d'assistance de : 
 ATTENTION : UN DÉFAUT DE MISE À LA TERRE PEUT PROVOQUER CERTAINS DYS-
FONCTIONNEMENTS DE L'APPAREIL OU DU SYSTÈME AUQUEL IL EST RELIÉ, POUVANT SE  
TRADUIRE PAR UNE TENSION COMPOSÉE ENTRE LA MASSE ET LA PRISE DE TERRE. CELA Harman Signal Processing 
PEUT PROVOQUER DES BLESSURES SÉRIEUSES OU FATALES SI LA MASSE ET LA PRISE 10653 South River Front Parkway 
DE TERRE SONT TOUCHÉES EN MÊME TEMPS. 
  Suite 300 
ATTENTION :   South Jordan, Utah 84095, ÉTATS-UNIS  
• APPARATET MÅ TILKOPLES JORDET STIKKONTAKT.  Tél. : (801) 566-8800 
• APPARATEN SKALL ANSLUTAS TILL JORDAT UTTAG. 
• LAITE ON LIITETTÄVÄ SUOJAKOSKETTIMILLA VARUSTETTUUN PISTORASIAAN. 
Fax : (801) 568-7583
Warranty
Warranty
1. The warranty registration card that accompanies this product must be mailed
within 30 days after purchase date to validate this warranty. You can also
register online at www.lexiconpro.com. Proof-of-purchase is considered to be the
responsibility of the consumer. A copy of the original purchase receipt must be
provided for any warranty service.
2. Lexicon Professional warrants this product, when purchased new from an

authorized U.S. Lexicon dealer and used solely within the U.S., to be free from
defects in materials and workmanship under normal use and service. This warranty
is valid to the original purchaser only and is non-transferable.
3. Lexicon Professional's liability under this warranty is limited to repairing or, at

our discretion, replacing defective materials that show evidence of defect, provided
the product is returned to Lexicon Professional WITH RETURN AUTHORIZATION
from the factory, where all parts and labor will be covered up to a period of 1 year.
A Return Authorization Number must first be obtained from Lexicon Professional.
The company shall not be liable for any consequential damage as a result of the
product’s use in any circuit or assembly.
4. Lexicon Professional reserves the right to make changes in design or make

additions to or improvements upon this product without incurring any
obligation to install the same additions or improvements on products previously
manufactured.
5. The foregoing is in lieu of all other warranties, expressed or implied, and Lexicon
Professional neither assumes nor authorizes any person to assume on its behalf any
obligation or liability in connection with the sale of this product. In no event shall
Lexicon Professional or its dealers be liable for special or consequential damages
or from any delay in the performance of this warranty due to causes beyond their
control.
MX300 Table of Contents
TABLE OF CONTENTS
INTRODUCTION.........................................................................1
INCLUDED ITEMS........................................................................1
QUICK START.............................................................................2
Standard Parallel Connection................................................................................ 2
Powering the Unit................................................................................................... 2
Set Audio Levels...................................................................................................... 2
Select and Load a Program.................................................................................... 3
THE FRONT PANEL......................................................................4

Gain LEDs............................................................................................................... 4
Input Knob.............................................................................................................. 4
Main Display........................................................................................................... 4
Page / Select Knob.................................................................................................. 4
Exit ......................................................................................................................... 4
Tempo..................................................................................................................... 4
Effect Bypass........................................................................................................... 4
Edit Knobs A, B, C................................................................................................... 4
Store........................................................................................................................ 5
System..................................................................................................................... 5
Bypass...................................................................................................................... 5
User and Factory LEDs........................................................................................... 5
Program Number Display...................................................................................... 5
Program / Load...................................................................................................... 5
Power Switch........................................................................................................... 5
THE REAR PANEL........................................................................6

Power Jack............................................................................................................... 6
USB Port.................................................................................................................. 6
Footswitch Input..................................................................................................... 6
MIDI In, MIDI Thru............................................................................................... 6
S/PDIF Digital In / Out.......................................................................................... 6
Balanced Analog Line Output Pair........................................................................ 6
Balanced Analog Line Input Pair.......................................................................... 7
CONNECTING THE MX300.........................................................8

Mixer - Stereo Setup............................................................................................... 8
Mixer - Mono In/Stereo Setup............................................................................... 8
Mixer - Dual Mono In/Stereo Out Setup............................................................... 9
Mixer - Dual Mono In/Out Setup.......................................................................... 9
Guitar - Effects Loop Setup.................................................................................... 10
Instrument - In Line Setup.................................................................................... 10
Studio - Digital Setup............................................................................................. 11
Table of Contents
THE MX300 AND DIGITAL I/O....................................................12
USING THE MX300.....................................................................13

Selecting and Loading Programs........................................................................... 13
Storing/Copying Programs.................................................................................... 13
Editing a Program.................................................................................................. 13
Changing an Effect................................................................................................. 14
Changing Knob Assignments................................................................................. 15
Effect Mix/Routing................................................................................................. 16
Editing Effect/Mix Routing.................................................................................... 17
Tempo Button......................................................................................................... 17
Bypass Buttons........................................................................................................ 17
EFFECTS DESCRIPTIONS..............................................................18
Parallel vs. Serial.................................................................................................... 18
Reverbs.................................................................................................................... 18
Delays...................................................................................................................... 22
dbx® Dynamics....................................................................................................... 25
Modulated Effects................................................................................................... 27
MX300 SYSTEM MENUS.............................................................30
THE MX-EDITTM EDITOR/LIBRARIAN - WINDOWS® AND MACTM...34

Installing the MX-Edit Editor/Librarian Software - Windows.............................. 34
Installing the MX-Edit Editor/Librarian Software - Mac...................................... 34
Quick Start.............................................................................................................. 35
The MX-Edit Library............................................................................................... 36
Editing a Program.................................................................................................. 36
The MX-Edit Program Editor................................................................................. 37
Saving a Program................................................................................................... 39
Storing a Program.................................................................................................. 39
Archiving................................................................................................................. 40
USING THE MX300 AS A HARDWARE PLUG-IN...........................41

Installing the MX-Edit Hardware Plug-Ins........................................................... 41
Connecting the MX300........................................................................................... 41
Software Configuration.......................................................................................... 42
Using the MX300 Plug-In Window........................................................................ 43
Controls................................................................................................................... 43
MIDI IMPLEMENTATION CHART...................................................44
MIDI CC MAPS...........................................................................45
PROGRAM LIST...........................................................................48
SPECIFICATIONS.........................................................................50
MX300 Introduction
INTRODUCTION
Congratulations and thank you for purchasing the MX300 Stereo Reverb Effects
Processor! You now have the rich, luscious sound that’s defined studio reverb for three
decades; something only a Lexicon hardware processor can deliver. Not only does the
MX300 deliver sonically, it also offers the flexibility of programming high-quality
effects right inside your VST® or AU compatible computer DAW program. Its rugged
road-tested construction will ensure it works night after night for your sound reinforce-
ment needs. With the multiple routing options and extensive effects library, you will
find the MX300 is right at home both live and in your studio.
The utmost care was taken while your MX300 was being manufactured. Everything
should be included and in perfect working order. If anything is missing, contact the
factory at once. Please help us become acquainted with you and your needs by com-
pleting your warranty card or registering online at www.lexiconpro.com. It is your
safeguard should a problem arise with your MX300.
INCLUDED ITEMS
• MX300 Stereo Reverb Effects Processor
• This owner's manual
• MX Edit/USB driver CD
• Power Cord
• Lexicon Warranty Card
• Four bumpons
1
Quick Start
QUICK START
Ideally, you should read this entire manual before using the MX300. But, if you just
can’t wait to get started, this section explains how to set up a simple parallel connec-
tion (using the MX300 with a mixer) and select a program.
STANDARD PARALLEL CONNECTION

1. Connect the mixer’s Post Fader Aux Send outputs to the MX300’s Left and Right
inputs.
2. Connect the MX300 Left and Right outputs to a stereo Aux Return input on the
mixer (or a stereo line input, or two adjacent line inputs if you like).
Aux Aux Aux Aux

Return 1 Return 2 Send 1 Send 2
POWERING THE UNIT

1. Plug the included power cord into an A/C outlet.
2. Connect the power cord to the Power Jack connection on the MX300’s back
panel and turn on the MX300's power.
Power
SET AUDIO LEVELS

1. Set the gain on the mixer’s input channel appropriate to the source (vocal mic,
guitar, keyboard, etc.).
2. Set the Aux Master level (if provided on your console) to the 12 o’clock position.
3. Set the Input level on the MX300 to the 12 o’clock position.
4. Provide a signal source signal on the selected mixer channel.
5. Turn up the Aux Send levels on the channel corresponding to the Post-fader send
(Aux 1 and Aux 2 in this example) that the MX300 is connected to until the red
Input Gain LEDs light only occasionally. If the red Input Gain LEDs stay lit,
too much signal is being sent to the MX300; reduce the Aux Master or Aux Send on
the mixer.
2
MX300 Quick Start
6. Turn up the Aux Return 1 and 2 to the 12 o’clock position, or stereo line input
faders to the 0dB position, if you used that connection.
7. To increase or decrease the amount of effect on the signal, adjust the Aux Send
level on the channel that you want affected.
SELECT AND LOAD A PROGRAM

Turn the Program/Load knob to choose a program. The Program Number
Display flashes the number of the program to be loaded. Press the knob to load the
program.
Program/Load knob
Program Number Display
Note that the MX300 comes with 99 Factory programs and 99 User programs. Factory
and User LED's to the left of the Program Number Display window indicate
whether the displayed program is a Factory or User program. For more information
about editing programs, see page 13.
3
The Front Panel
THE FRONT PANEL
1 3 4 5 6 7 9 10 14 15
88
2 8 11 12 13
1. Gain LEDs
Indicate input signal strength of each of the MX300’s inputs. Range is from –24dB,
–12dB, –6dB, and 0dB.
2. Input Knob
Controls input gain of the stereo inputs.
3. Main Display
The Main Display features two LEDs and an LCD. The LEDs indicate when the S/PDIF
I/O has sync lock, and when there is USB connectivity. The LCD shows program and
parameter editing information and System Menu settings.
4. Page / Select Knob

Used to navigate the MX300 effects, parameters, and System menus.
5. Exit
Pressing this button will back you out one level of editing.
6. Tempo
Sets the delay time of delay effects.
7. Effect Bypass
Pressing this button bypasses or mutes the selected effect in the Main Display. One of
four bypass/mute functions can be assigned to this button: Dry, Mute, Input Dry, and
Input Mute. See page 17 for more information.
8. Edit Knobs A, B, C
These knobs modify the associated parameters in the Main Display when editing pro-
grams or change the settings in the System Menu.
4
MX300 The Front Panel
9. Store
Used to store or copy programs to the same or different user memory locations.
10. System
Accesses the System global setup menus.
11. Bypass
Pressing this button bypasses or mutes the currently selected program.
12. User and Factory LEDs

Indicate whether the selected program is User or Factory.
13. Program Number Display

Displays the number of the selected program.
14. Program / Load

Selects factory and user programs. Pressing this knob loads the program manually if
program Auto Load is disabled. When in the Program Screen, press this knob to switch
between factory and user program banks. This eliminates the need to scroll through
100 presets if you’re in the middle of the user presets and you want to go to a preset in
the middle of the factory presets.
15. Power Switch

Turns the MX300 on and off.
5
The Rear Panel
THE REAR PANEL
1 2 3 4 5 6 7
1. Power Jack
Attach the power cord here.
2. USB Port
Provides communication with a computer for use with MX-EditTM Editor/Librarian
software and MX300 plug-in window using a standard USB cable. When the MX300 is
connected to a computer via USB, the blue USB LED next to the main display will light.
3. Footswitch Input
The optional Lexicon® LEX-DFS 2-button footswitch can be plugged into this TRS
jack for remote control of the MX300 (see page 33 for more information).
4. MIDI In, MIDI Thru

Provides MIDI operation capabilities. Two 5-pin MIDI DIN connectors are available for
MIDI IN and MIDI THRU. (See page 44 for the MIDI Implementation chart.)
5. S/PDIF Digital In/Out

Digital input accepts 44.1kHz / 48kHz signals. When the S/PDIF digital input is select-
ed and active, the S/PDIF LED on the front panel lights.
Important: It is recommended that you do not connect any digital device to the
MX300’s S/PDIF inputs that transmits at sample rates other than 44.1 kHz or 48 kHz
(such as 96kHz). Doing so can cause unpredictable performance. Make sure the device
you are connecting to the MX300’s S/PDIF In is set as the Clock Master (if that option
is available) and transmitting at a sample rate of 44.1kHz or 48kHz only. As with any
other connection, if you need to unplug the S/PDIF cable, it is recommended that you
switch to the analog inputs (see Input Source in the System menus) or press the
Program Bypass button before disconnecting the cable.
6. Balanced Analog Line Output Pair

Dual RF-filtered 1/4" balanced/unbalanced TRS and balanced XLR line outputs are
servo-balanced, so no signal loss is incurred when using unbalanced connections (1/4"
inputs only). If only a single plug is connected to the Left output, both Left and
Right signals can be summed to mono by selecting Anlg Mono L in the System
Menu.
6
MX300 The Rear Panel
7. Balanced Analog Line Input Pair

Left and Right active analog 1/4” TRS or XLR balanced line inputs. If only a single
plug is connected to the Left input, the signal can be split and sent to both the Left
and Right input paths by selecting Analog Mono L in the Input Source section
of the System Menu.
NOTE: XLR and 1/4” inputs cannot be used simultaneously. Plugging in a 1/4” TRS
plug will disable the corresponding Left or Right XLR input.
7
About the MX300
CONNECTING THE MX300

The MX300 is an extremely versatile effects processor capable of a wide variety of ap-
plications. The MX300’s multiple routings offer several connectivity options, making it
extremely flexible both in the studio and for live sound. The following setups explain
how the MX300 should be connected and which routings apply for your specific effects
processing needs.
Mixer – Stereo Setup
Aux Aux Aux Aux

Stereo Mode configures the MX300 as a single stereo input/output processor. Left and
Right signal separation is maintained through the effects chain. The Input Source
must be set to Anlg Stereo in the System menu (described on page 30). This setup
is ideal for use with programs using Cascade, Parallel, and Stereo routings (see page
16 for more information about routings).
Mixer - Mono In/Stereo Out Setup
Aux Aux Aux

Return 1 Return 2 Send 1
This setup is the most commonly used configuration in both live and studio applica-
tions. A single input source is fed into the MX300, processed, and output as a stereo
8
MX300 Connecting the MX300
signal. The Input Source must be set to Anlg Mono L in the System menu
(described on page 30). This setup is ideal for programs using Cascade, Parallel, and
Stereo routings (see page 16 for more information about routings).
Mixer - Dual Mono In/Stereo Out Setup
Aux Aux Aux Aux

This setup lets the MX300 act as two effects processors. Separate input sources are fed
into the MX300 and processed independently with different effects, then output as a
mixed stereo signal. The Input Source must be set to Anlg Stereo in the System
menu (described on page 30). This setup is ideal for programs using the Mono Split
routing (see page 16 for more information about routings).
Mixer - Dual Mono In/Out Setup
Aux Aux Aux Aux

This setup lets the MX300 act as two effects processors. Separate input sources are
fed into the MX300 and processed independently with different effects, then output
as separate mono signals. The Input Source must be set to Anlg Stereo in the
System menu (described on page 30). This setup is ideal for programs using the Mono
Split routing (see page 16 for more information about routings).
9
Connecting the MX300
Guitar - Effects Loop Setup
Effects Effects
Return Send
This setup is optimized for use within a guitar amplifier effects loop system. A single
input source is fed into the MX300 and output as a mono signal. The Input Source
must be set to Anlg Mono L in the System menu (described on page 30). This setup
is ideal for programs using Cascade, Parallel, and Stereo routings (see page 16 for more
information about routings).
Instrument - In Line Setup
Stereo
Line Input
This setup allows a line level instrument such as an electronic keyboard to be connected
directly to the MX300. Connect the outputs of the line level instrument to the MX300
inputs and connect the MX300 outputs to the input channels of a mixer, or the inputs
of a powered speaker system. The Input Source must be set to Anlg Stereo in
10
MX300 Connecting the MX300
the System menu (described on page 30). This setup is ideal for use with programs
using Cascade, Parallel, and Stereo routings (see page 16 for more information about
routings).
Studio – Digital Setup

S/PDIF Out
S/PDIF In
To
USB
Port
This setup is ideal if you are using the MX300 as a hardware plug-in in a digital record-
ing system. This setup requires that you are using an I/O device with S/PDIF In/Out, or
a digital mixer with S/PDIF I/O option. The Input Source must be set to Digital, and
the Clock Source should be set to Digital in the System menu (described on pages
30-31).
11
The MX300 and Digital I/O
THE MX300 AND DIGITAL I/O

The MX300 is equipped with digital input and output connections (S/PDIF). The S/
PDIF input and output are the digital equivalent of the analog inputs/outputs. The
digital output on the MX300 is always active and will always mirror its analog output
counterpart. This allows you to plug in an analog input source and have it be output
as a digital stream.
The MX300 has three options for input sources which are configurable in the System
Menu: Analog Mono L (Left), Analog Stereo and Digital. (Press the System
button to access the System Menu; turn the Page/Select knob to scroll up and down
the menu.)
System Menu
A INPUT SOURCE ANLG STEREO
B CLOCK SOURCE INT 48KHZ
C DIGITAL OUT PROCESSED
While in the System Menu, use Knobs A, B, and C to change values. As with all
equipment that receives digital audio streams, when setting the Input Source to
Digital, the MX300 can no longer use its own internal clock source for the audio
stream, and it is necessary to change the clock source from the MX300’s internal clock
to Digital as it needs to use the external clock source via the S/PDIF input.
System Menu
A INPUT SOURCE DIG LOCKED
B CLOCK SOURCE DIG LOCKED
If the Clock Source isn’t changed to Digital when the digital input source is select-
ed, there will be synchronization problems between the incoming digital audio stream
and the MX300’s processing, and the System Input Source menu will display DIG NO
LOCK. When the MX300 is properly synchronized with the incoming digital audio,
the System’s Input Source and Clock Source menus display DIG LOCKED.
The MX300 runs at 44.1 kHz or 48 kHz sample rate (using internal or external clock
sources). Do not connect external digital outputs to the MX300 that run at higher
sample rates (88.2 - 192 kHz) as the MX300 cannot accept them.
12
MX300 Using the MX300
USING THE MX300

SELECTING AND LOADING PROGRAMS
1. Choose a program by rotating the Program knob. The selected program number
flashes in the Program Display until loaded. The name of the program also
appears in the MX300’s Main Display. The Factory or User light next to
the Program Display lights to indicate whether a Factory or User program is
selected.
2. Press the Program knob to load the program. If you would like the programs
to be loaded automatically as they are selected with the Program knob, you can
enable the Auto Load in the MX300’s System menu.
STORING/COPYING PROGRAMS
1. Press the Store button once. You will now be on the program naming
screen.
2. Turn the Page/Select knob to move the cursor to the character you want
to change. Turn Edit Knob A to change the character. Turn Edit Knob
B to change the letter case. Press the Page/Select knob to clear a charac-
ter from the name.
3. When naming is complete, press the Store button again. Turn the Page/
Select or Program/Load knob to select the new user program memory
location to store to.
4. Press the Store button again to complete the store procedure.
EDITING A PROGRAM
Once a program has been loaded, you may find you want to make adjustments to it
for your particular application or use. Editing of programs is done using the Page/
Select and three Edit knobs (A, B, and C) to the right of the Main Display. Each
effect can be edited independently by selecting it with the Page/Select knob. As the
effect is selected, its name is highlighted in the Main Display and three parameters
become visible for the effect at the bottom of the Main Display. The Edit knobs can
then modify these three top level parameters.
13
Using the MX300
(Fig. A)
In Figure A the Edit Knobs A, B, and C will modify the Tape Delay effect’s Delay
Time, Delay Ratio, and Feedback parameters respectively. Programs using routing 5 -
Stereo have several other parameters that can be modified from the Edit Effect menus.
Editing From the Program Display

1. Select the program you want to edit and load it using the Program knob.
2. Select the effect you would like to edit using the Page/Select knob until
the effect name is highlighted in the Main Display.
3. Turn the A, B, or C Edit knobs to modify a parameter setting.
When finished, store your changes to the program if you would like them to be
recalled.
Editing From the Program Edit Menus

1. While on the program you would like to edit, press the Page/Select knob.
This will enter the Program Edit menus.
2. There can be two effects to edit in each program, Effect 1 and Effect 2. Turn
the Page/Select knob until the effect menu of the effect you want to edit
is highlighted (Effect 1 menu is highlighted in our example).
3. Press the Page/Select knob to enter the Edit Effect menu.
4. Turn the Page/Select knob until the parameter(s) you want to edit appear
in the Main Display. Each parameter has either an A, B, or C labeled to
the left of its name indicating which Edit knob will modify its value.
5. Turn the A, B, or C Edit knob associated with the parameter you would
like to edit to change its setting.
1 TAPE DELAY 2 DRM PLATE 1
2
EDIT EFFECT 1
CHANGE EFFECT 1
KNOBS ASSIGN 1
Edit 1 Tape Delay

A TEMPO 48.00 BPM
B DLY TIME 2.500s
C FEEDBACK 30
When finished, store the changes to the program if you would like them to be recalled.
CHANGING AN EFFECT
Each program offers a library of effects that can be used in the available effect mod-
ules. This allows you to customize a preset with the effects you need for your particular
application.
14
1. While on the Program you would like to edit, press the Page/Select knob.
This will enter the Program Edit menus.
2. Turn the Page/Select knob until the Change Effect menu is highlighted.
Change Effect 2 is selected in our example.
3. Press the Page/Select knob to enter the Change Effect 2 menu.
4. Once in the Change Effect menu, turn the Page/Select knob to move
through the library of effects until you find the one you want to use.
5. Press the Page/Select knob to load the newly selected effect into the effect
location. You will be able to hear the new effect in place in the effect rout-
ing at this time. If you choose not to select a new effect, press the Exit but-
ton to abort changing effects.
1 TAPE DLY 2 DRM PLATE 1

2
EDIT EFFECT 2
CHANGE EFFECT 2
EDIT MIX/ROUTING
Program Name 2
Change Effect 1
2
DRUM PLATE
ARENA (SELECT) - LOAD
GATED REVERB (EXIT) - ABORT
CHANGING KNOB ASSIGNMENTS

The three parameters that appear for editing from the Program Screen when a pro-
gram using routing 5 - Stereo (single effect) is loaded are user selectable. From the
factory, these parameters were selected for these programs by their importance to the
effect. If you would like to access other parameters for this effect from the Program
Screen, you can select these in the Knob Assignments menu. These assignments are
individual to each program so you can customize specific parameters for each effect
depending on the program.
1. While on the Program Screen, press the Page/Select knob. This will enter the
Program Edit menus.
2. Turn the Page/Select knob until the Knobs Assign menu is highlighted.
3. Press the Page/Select knob to enter the Knobs Assign menu.
4. Turn either the A, B, or C knobs to select which parameter you want available for
editing from the Program Screen.
15
Using the MX300 
Using the MX300



 




   
 
  
EFFECT MIX/ROUTING
   
  
   
  
   
Each of the MX300 programs offers programmable effect routing and a wet/dry mix
eFFect mIX/routIng

parameter of theforMX300
Each  each programs
effect. These
offersdifferent

routings
programmable and mix
effect

controls
routing and agive you mix
wet/dry

many
options for your effect signal path and precise control over balance between the two
 parameter for each effect. These different routings and mix controls give
you many
   
  
    
 effects.
 



options for your effect 
signal
path and precise control
over balance between the two

 
effects.
MX300 Routing Options
    
     
  
      
  
   
  
   

Routing Options:

Routing Options: 
 
 1 - Dual Mono 
1 - Dual Mono option sends the Left and Right input signals through Effect 1 and
This routing
This routing option sendsEach
Effect 2 respectively. the Left
signalandis Right input tosignals
then routed throughoutput,
its respective Effect completely
1 and Effect
2 respectively.
independent Each signal
from is then routed to its respective output, completely indepen-
the other.
dent from the other.
2 - Cascade
2 - Cascade
Left and Right input signals are sent first through Effect 1, then through Effect 2,
Left and
thenRight
routedinput
as a signals are sent
stereo signal first through
to their respectiveEffect 1, then through Effect 2, then
outputs.
routed as a stereo signal to their respective outputs.
3 - Parallel (Dual Stereo)
3 - Parallel (Dualinput
Left and Right Stereo)
signals are sent through both effects independently. The out-
put Right
Left and signalsinput
of both Effectsarearesent
signals thenthrough
mixed together, andindependently.
both effects routed to both the
Theoutputs
output
as of
signals a single stereo signal.
both Effects are then mixed together, and routed to both the outputs as a
single stereo signal.
4 - Mono Split
Left input
4 - Mono Splitsignal is sent through Effect 1, while the Right input signal is sent
through Effect
Left input signal is sent2. The output Effect
through signals1,ofwhile
boththe
Effects areinput
Right then signal
mixed together, and
is sent through
routed to both the outputs as a single stereo signal.
Effect 2. The output signals of both Effects are then mixed together, and routed to both
the outputs as a single stereo signal.
5 - Stereo
Routing 5 provides a single high-quality stereo effect that utilizes all the MX300’s
5 - Stereo
DSP horsepower. With extra editable parameters and an increased complexity
Routing 5 provides a single high-quality stereo effect that utilizes all the MX300’s DSP
of the reverb algorithms, use this routing when all you need is a powerful stereo
horsepower. With extra editable parameters and an increased complexity of the reverb
effect for your application.
algorithms, use this routing when all you need is a powerful stereo effect for your
application.
16
16
EDITING EFFECT MIX/ROUTING

1. While on the Program Screen, press the Page/Select knob. This will enter the
Program Edit menus.
2. Turn the Page/Select knob until the Edit Mix/Routing menu is highlighted.
3. Press the Page/Select knob to enter the Edit Mix/Routing menu.
4. Turn Knob A to select different effect routings for the program. Use Knob B
and Knob C (when available) to adjust the wet/dry mix for each effect.
Note: For programs using routing 5 - Stereo, there is only one effect available so Effect
2 Mix will not be available.
TEMPO BUTTON
The Tempo button is used for quickly setting the tempo parameter in delay effects.
In some cases there may be two delays set up in a program using two effects. The
Tempo button will flash at the rate of the delay which is highlighted in the Main
Display. To set the tempo of the second delay, turn the Page/Select knob until the
second delay is highlighted in the Main Display. The Tempo button can now set
the delay time for this delay. Although the Store button doesn't light when changing
tempo settings with the Tempo button, changes to tempo must be saved to the pro-
gram if the changes are to be recalled later.
BYPASS BUTTONS
The MX300 is equipped with two bypass buttons: Effect Bypass (located near the
Page/Select knob and Program Bypass (located near the Program/Load
knob). Effect Bypass only bypasses the selected effect in the Main Display. This
lets you bypass effects individually in programs. Effect Bypass can also be saved
with the program. Program Bypass is a global bypass control for MX300. All
effects in all configurations are bypassed when Program Bypass is engaged.
There are four different options Bypass can be set to function as:
1. Dry - Bypasses dry signal around an effect or program.
2. Mute - Mutes all input and output audio.
3. Input Dry - Outputs signal with no processing or effects.
4. Input Mute - Mutes the input only.
The Bypass options can be selected in the System Menu and will affect both Effect
Bypass and Program Bypass.
17
Effects Descriptions
EFFECTS DESCRIPTIONS
PARALLEL VS. SERIAL
The MX300 can be used as both a Parallel and Serial (in-line) effects processor.
Typically, reverbs and delays are used in parallel, compressors and de-essers in serial,
and modulated effects can be used in either configuration, depending on the desired
application.
A Parallel Processor is connected by sending a copy of a signal (such as from an Aux

Send of a mixer channel) to an effects device (such as the MX300), and the effected
(or wet) signal is returned to the mixer or amp. It is then blended together with the
original unaffected (dry) signal. This blend is called the Wet/Dry mix. This connection
is most often used for reverbs, delays, and some modulated effects (such as chorus).
A Serial Processor is connected by sending the entire signal through the effects device
and then to an amplifier or mixer, and is not blended with the unaffected (dry) signal.
This is the type of connection most often used for a compressor, de-esser, equalizer, and
many modulated effects (such as tremolo, vibrato, and rotary).
REVERBS
Reverberation (or “reverb” for short) is the complex effect created by the way we per-
ceive sound in an enclosed space. When sound waves encounter an object or boundary,
they don’t just stop. Some of the sound is absorbed by the object, but most of the sound
is reflected or is diffused. In an enclosed space, reverb is dependent on many features of
that space, including the size, shape and the type of materials that line the walls. Even
with closed eyes, a listener can easily tell the difference between a closet, a locker room
and a large auditorium. Reverb is a natural component of the acoustic experience, and
most people feel that something is missing without it.
18
MX300 Effects Descriptions
Hall Reverbs - Stereo

SMALL HALL, LARGE HALL, VOCAL HALL, DRUM HALL
A Hall reverb is designed to emulate the acoustics of a concert hall – a space large
enough to contain an orchestra and an audience. Because of the size and character-
istics, Halls are the most natural-sounding reverbs, designed to remain “behind” the
direct sound – adding ambience and space, but leaving the source unchanged. This
effect has a relatively low initial echo density which builds up gradually over time.
Vocal Hall and Drum Hall reverbs are specifically tailored for those uses. Vocal
Hall has as lower overall diffusion which works well with program material that has
softer initial transients like a voice. Drum Hall has a higher diffusion setting which is
necessary to smooth out faster transient signals found in drums and percussion instru-
ments. In addition to general instrumental and vocal applications, the Hall program is
a good choice for giving separately recorded tracks the sense of belonging to the same
performance.
Plate Reverbs - Stereo

SMALL PLATE, LARGE PLATE, VOCAL PLATE, DRUM PLATE
A Plate reverb is a large, thin sheet of metal suspended upright under tension on
springs. Transducers attached to the plate transmit a signal that makes the plate
vibrate, causing sounds to appear to be occurring in a large, open space. The Plates in
the MX300 model the sound of metal plates with high initial diffusion and a relatively
bright, colored sound. Plate reverbs are designed to be heard as part of the music,
mellowing and thickening the initial sound. Plate reverbs are often used to enhance
popular music, particularly percussion.
Room Reverb - Stereo

Room produces an excellent simulation of a very small room which is useful for
dialog and voiceover applications. Room is also practical when used judiciously for
fattening up high energy signals like electric guitar amp recordings.
Chamber Reverb - Stereo

Historically, recording studio chambers were oddly shaped rooms with a loudspeaker
and set of microphones to collect ambience in various parts of the room. Chamber
programs produce even, relatively dimensionless reverberation with little color change
as sound decays. The initial diffusion is similar to the Hall programs. However, the
sense of size and space is much less obvious. This characteristic, coupled with the low
color of the decay tail, makes these programs useful on a wide range of material -
especially the spoken voice, to which Chamber programs add a noticeable increase in
loudness with low color.
Gated Reverb - Mono In/Stereo Out

Gated reverb is created by feeding a reverb, such as a metal plate, through a gate
device. Decay Time is set to instant, while Hold Time varies duration and sound. The
Gated reverb provides a fairly constant sound with no decay until the reverb is cut off
abruptly. This program works well on percussion — particularly on snare and toms;
be sure to experiment with other sound sources as well.
19
Reverse Reverb - Mono In/Stereo Out

Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal
reverb has the loudest series of reflections heard first that then become quieter over
time, the Reverse reverb has the softest reflections (essentially the tail of the reverb)
heard first, and then grows louder over time until they abruptly cut off.
Ambience Reverb - Stereo

Ambience is used to simulate the effect of a small or medium sized room without
noticeable decay. It is often used for voice, guitar or percussion.
Studio Reverb - Stereo

Much like Room reverb, Studio produces an excellent simulation of smaller, well-
controlled acoustic spaces, characteristic of the main performance areas in recording
studios. Studio is also useful with dialog and voiceover applications as well as indi-
vidual instrument and electric guitar tracks.
Arena Reverb - Stereo

Arena reverb emulates a huge physical space such as an indoor sports venue or sta-
dium. The characteristics of Arena reverb are long secondary reflection times and a
reduced amount of high frequency content. Arena is a mostly mid- and low-frequen-
cy dominant reverb, and is an ideal selection for “special effect” type applications that
require extremely long reverb times. It is not a good choice for a very busy mix, since it
can reduce intelligibility.
Spring Reverb - Mono In/Stereo Out

A Spring reverb is created by a pair of piezoelectric crystals—one acting as a speaker
and the other acting as a microphone—connected by a simple set of springs. The
characteristic ‘boing’ of a spring is an important component of many classic rock and
rockabilly guitar sounds.
Reverb Controls
Pre Delay
Creates an additional time delay between the source signal and the onset of reverbera-
tion. This control is not intended to precisely mimic the time delays in natural spaces,
as the build-up of reverberation is gradual, and the initial time gap is usually relatively
short. For the most natural effect, the Pre Delay values should be set in the range of
10-25 milliseconds. However, if a mix is very busy or overly cluttered, increasing the
Pre Delay time may help clarify it, and set each instrument apart from each other.
Mid RT and Decay

Controls the amount of time the reverb can be heard. Higher settings increase reverber-
ation times which are usually associated with larger acoustical environments, but can
decrease intelligibility. Lower settings shorten reverb times and should be used when a
smaller apparent space or a more subtle effect is desired.
20
Diffusion
Controls the initial echo density. High settings of Diffusion result in high initial
echo density, and low settings cause low initial density. In a real-world situation,
irregular walls cause high diffusion, while large flat walls cause low diffusion.
For drums and percussion, try using higher Diffusion settings.
Shape & Spread

In the Hall reverbs, Shape and Spread work together to control the overall
ambience of the reverberation. Shape determines the contour of the
reverberation envelope. With Shape all the way down, reverberation builds
explosively, and decays quickly. As Shape is advanced, reverberation builds up
more slowly and sustains for the time set by Spread. With Shape in the middle,
the build-up and sustain of the reverberation envelope emulates a large concert
hall (assuming that Spread is at least halfway up, and that Size is 30 meters
or larger). Low Spread settings result in a rapid onset of reverberation at the
beginning of the envelope, with little or no sustain. Higher settings spread out
both the buildup and sustain.
Size
Size sets the build-up rate of diffusion after the initial period (which is con-
trolled by Diffusion). The Size control changes reverb sound from very large to
very small. Generally, set this control to the approximate size of the acoustic
space being created, before adjusting anything else. The size in meters is
roughly equal to the longest dimension of the space. Audio is temporarily muted
when Size is changed.
RT High Cut
Rt HC sets the frequency above which a 6dB/octave low-pass filter attenuates the
reverberated signal. It does not attenuate the reflections. High frequencies are
often rolled off with this parameter, resulting in more natural-sounding rever-
beration. Setting a low frequency for this parameter can actually shorten the
reverb time, as it damps the audio as it recirculates.
Liveliness
Adjusts the amount of high frequency content in the reverberation tails. Higher
settings increase high frequency response, creating brighter reverbs; lower set-
tings create darker reverbs with more bass frequency emphasis.
Bass Boost
Bass Boost boosts or cuts frequencies below Crossover. The amount of boost or
cut required is highly dependent on the material being processed.
Bass Boost Frequency

Sets the frequency at which the transition from Mid Rt to Low Rt takes place.
This control should be set at least two octaves higher than the low frequency you
want to boost. For example, to boost a signal at 100Hz, set Bass Boost Frequency
to 400Hz. (This setting works well for classical music.) Crossover works best
around 400Hz for boosting low frequencies, and around 1.5 kHz for cutting low
frequencies.
21
ER Time
Adjusts the amount of time before reverb early reflections occur.
ER Level
Adjusts the level of early reflections within the reverb.
Feedback Delay
Changing this parameter changes the resonant frequencies of Plate reverb.
Feedback Level
Adjusts the Plate reverb's presence and prominence.
Boing
This is a unique parameter to the Spring reverb, designed to increase or decrease the
amount of spring rattle that is a physical characteristic of spring tank reverbs.
DELAYS
Delays repeat a sound a short time after it first occurs. Delay becomes echo when the
output is fed back into the input (feedback). This turns a single repeat into a series of
repeats, each a little softer than the last.
Studio Delay - Stereo

The Studio Delay features up to 2.5 seconds of stereo delay and offers a built-in
ducker that attenuates the delay output whenever signal is present at the input. This
can be used to keep the original signal from being muddied up by delay repeats.
Mono Delay - Mono In/Stereo Out

The Mono Delay is the cleanest, most accurate of the delay programs, with up to 5
seconds of mono delay and the built-in ducking feature.
Tape Delay - Mono In/Stereo Out

In the days before digital, delays were created using a special tape recorder in which
the magnetic recording tape was looped, with closely-spaced recording and playback
heads. The delay effect was created by the tape moving in the space between the record
and playback heads – while delay time was adjusted by changing the speed of the tape
loop. Although very musical-sounding, wow and flutter combined with a significant
loss of high frequencies, and to some extent also low frequencies, are all elements
commonly associated with tape recordings. The Tape Delay offers up to 5 seconds of
mono delay.
Pong Delay - Mono In/Stereo Out

This delay effect pans the delay repeats from left to right, while the input signal
remains at its original (center) position. Pong Delay offers up to 5 seconds of mono
delay time.
22
Modulated Delay - Stereo

The Modulated Delay is enhanced by an LFO (low frequency oscillator) that
produces a chorusing effect on the delay repeats. This is a great delay for guitar and
instrument passages that need that “special something.” The Modulated Delay
features up to 2.5 seconds of stereo modulated delay.
Reverse Delay - Mono In/Stereo Out

This delay effect emulates the old studio trick of flipping a tape over, playing it back-
wards through a tape delay, and recording the effect. The delays “build up” from softer
to louder – creating the sensation that the delays come before the signal. Up to 2.5
seconds of mono delay time are available.
2-Tap Delay - Stereo

The 2-Tap Delay is probably best described as an adjustable pong delay where each
tap can be individually set in relation to the delay time. The 2 taps are a calculated
percentage of the actual delay time from 1-100% (for example, if the delay time is
500ms and Tap 1 is set to 50% and Tap 2 is set to 100%, Tap 1 time would be 250ms
and Tap 2 time would be 500ms). Narrow spacing of the tap percentages can widen
the stereo image of the delay while wider tap spacing can create rhythmic delay lines.
Delay Controls
Tempo
The actual delay time as tapped in by the Tempo button or received via a MIDI clock
source. This time can be expressed as actual time (milliseconds, seconds) or in BPM
(beats per minute) values. Tempo works in conjunction with Delay Time to set the
actual delay time that is heard.
Delay Time
Controls the length of the delay time relative to Tempo. At the middle of its range,
delay repeats are synchronous with the Tempo button (represented by a Quarter Note
in the display); lower values create faster repeats, while higher values increase the time
between repeats.
Feedback
Controls the number of delay repeats by feeding the delay output signal back into the
delay input. This creates a series of delay repeats, each slightly attenuated until they
become inaudible. Higher settings create more repeats; lower settings reduce the num-
ber of repeats. When this knob is turned fully clockwise, it engages Repeat Hold – delay
repeats play back in an infinite loop, but no further input signal is introduced into the
delay effect.
High Pass Filter

Frequencies below this level are attenuated.
Low Pass Filter

Frequencies above this level are attenuated.
23
Ducker Level
Ducker Level is the level you want the delay to be heard at when signal is present. This
provides attenuation (up to 18dB) of the delay signal while a performer is singing or
playing to help provide intelligibility. As the performance pauses, the delay signal level
returns to its normal setting.
Ducker Threshold
MX300’s Studio and Mono delays offer a “ducking” feature, which causes the delay
repeats to attenuate (or get softer) by –6dB when live (or input) signal is present. This
allows the delay to remain as an effect, and not clash with the original signal. The
higher this value is set, the louder an input signal must be for the ducking to take
place.
Smear
This parameter controls the amount of “smear,” or signal degradation and frequency
loss. Particularly evident in the Tape Delay, the higher the setting, the more each
delay repeat loses intelligibility compared to the original signal.
Tap 1 & 2
The Tap parameters provide independent control to the two delay taps in the 2-Tap
Delay. Each tap can be set to a percentage of the delay tempo, creating interesting
rhythmic delay lines not available in the other delays.
Level 1 & 2
Adjusts the output level of Tap 1 and Tap 2.
Pan 1 & 2
Adjusts the pan position in the stereo field of Tap 1 and Tap 2.
Mod Depth
This controls the intensity of modulation, or “depth” in the Modulated Delay.
Lower settings produce a more subtle chorus effect, while higher values give a more
lush chorusing of the delay repeats.
Delay Ratio
Determines the ratio between the pong taps in the Pong Delay. 1:1 sets the taps
at the same time apart (ratio) from one another (normal ping pong). As the ratio
changes, the second tap (pong) is heard earlier or later than the first tap, creating
rhythmic left/right delay lines.
Tap Swap
Switches which tap is heard first (left or right) in the Pong Delay.
24
dbx® DYNAMICS
The MX300 offers two dynamics processing modules, De Esser and Compressor, that
utilize dbx’s legendary digital dynamics processing technology.
De-Esser - Stereo
A De-Esser is a type of compressor used to tame excessive sibilance, or the “s”
sounds in a vocal performance. Note that the De-esser does not pass dry audio.
Compressor - Stereo
A compressor is used to control the dynamic range of a signal. Typically used to tighten
bass or drum tracks, or to control a vocal passage, a compressor is a very useful but
often misunderstood tool. To better use the Compressor in the MX300, a bit of
understanding about compression is helpful. Note that the Compressor does not pass
dry audio.
When a signal level crosses the Threshold level, the compressor then reduces the
amount of output level by an amount determined by the Ratio. For example, if the
threshold is set to –12dB, and the ratio set to 4:1, then when signal exceeds –12dB, the
signal level above that amount only increases by 1dB to every 4dB of signal level above
–12dB. In this case, an incoming signal of –4dB (which is 8dB above the threshold)
would result in an output signal of –10dB, or 2dB higher than the threshold level,
since the 4:1 compression ratio only allowed 2dB more output, based on the 8dB
increase above the –12dB threshold.
Because the resulting output is less than the original signal, a third control, Makeup
Gain compensates for this loss of level, but with less dynamic range, or the difference
between the softest and loudest parts of the signal.
Note: The De-Esser and Compressor effects are Mono In Dual Stereo configuration
programs.
25
Dynamics Controls
Ratio
Determines the amount of compression, from 1:1 (no effect) to Infinity:1 (complete
limiting).
Frequency
Selects the frequency range of compression from 1600Hz to 10kHz (the most common
frequencies in which excessive sibilance occurs).
Bandwidth
Controls the bandwidth or “Quality” (Q) of frequency range. The higher the selected
value, the tighter the bandwidth, and less apparent the de-essing effect is.
Threshold
Determines the threshold above which compression begins, incrementally between
–70dB and 0dB.
Gain
Increases the output level to compensate for signal attenuation during compression.
Incremental between 0dB (no gain) to +12dB.
Attack
Attack adjusts the attack time constant, determining how quickly the compressor
responds to increasing input level. This should normally be set quite low to allow the
compressor to react to sharp transients.
Release
Release allows adjustment of the release time constant, determining how quickly the
compressor responds to decreasing input level. This should normally be set long. Short
release times may cause an effect similar to “pumping” in an analog compressor.
Knee
In Hard Knee mode, the threshold of compression is defined as that point above which
the output level no longer changes on a 1:1 basis with changes in the input level. See
Figure 1.
In Soft Knee mode, the threshold of compression is defined as the middle of the threshold
region, that is, “half-way” into compression, as shown in Figure 2.
26
MODULATED EFFECTS
Chorus - Stereo
Chorus creates a lush, full sound by combining two or more signals together where
one is unaffected and the other signals vary in pitch very slightly over time. Chorus
is commonly used to fatten up tracks and to add body to guitars without coloring the
original tone. Chorus can also be used with discretion to thicken a vocal track.
Flanger - Stereo
This effect was originally created by simultaneously recording and playing back two
identical programs on two tape recorders, then using hand pressure against the flange
of the tape reels to slow down first one machine, then the other. The result was a series
of changing phase cancellations and reinforcements, with characteristic swishing, tun-
neling, and fading sounds.
Phaser - Stereo
The Phaser automatically moves frequency notches up and down the spectrum of the
signal by means of a low frequency oscillator (LFO), creating an oscillating “comb-
filter” type effect. This effect is very useful on keyboards (especially pad presets) and
guitars.
Tremolo/Pan - Stereo (Wet Only)

Tremolo and Panner create rhythmic changes in signal amplitude. Tremolo
affects both channel’s amplitude simultaneously, while the Panner affects the ampli-
tude of each channel in an alternating manner.
Rotary - Mono In/Stereo Out (Wet Only)

Rotary speaker cabinets were designed to provide a majestic vibrato/choir effect for
electronic theater and church organs. The most well known rotary speaker is the
Leslie™ Model 122, which has two counter-rotating elements: a high-frequency horn
and a low-frequency rotor with slow and fast speeds. The sound generated as the spin-
ning elements change speed is truly magical. The swirling, spacious effect is difficult to
describe – but clearly recognizable.
27
The Rotary effect is modeled after a Leslie-style cabinet. The input signal is split into
high and low-frequency bands. The rotation effect is created by a synchronized com-
bination of pitch shifting, tremolo, and panning. Like the physical cabinet, the high
(horn) and low (rotor) frequencies are “spun” in opposite directions. Horn and rotor
speeds are independent, and designed with acceleration and deceleration characteristics
to simulate the inertia of the original mechanical elements.
A virtual requirement for organ music, Rotary also sounds remarkable with guitar
and electric piano rhythm parts. In fact, these programs are great alternatives to the
Chorus and Tremolo effects for any sound source.
Vibrato - Stereo (Wet Only)

Vibrato is obtained by smoothly varying the pitch of the signal just sharp and flat of
the original at a determined rate.
Pitch Shift - Stereo

This effect shifts the frequency spectrum of the input signal. Altering the pitch of a
sound produces a wide range effects - from subtle detunes to full interval shifts up
or down a two octave range. The MX300’s Pitch Shift effect is a chromatic shifter,
meaning all notes of the scale are shifted by the same interval. Pitch Shift is very
useful with guitar tracks, monophonic synth lines, or where special vocal effects are
needed.
Detune - Stereo
Detune adds a slightly pitch-shifted version of the original source, thickening the
sound. This creates a particularly effective simulation of “double-tracking.” This effect
is also a great alternative to the Chorus effect, adding the richness of a chorus with-
out the audible sweep caused by the chorus rate.
Modulated Effect Controls

Speed
Sets the speed at which the modulated effect cycles.
Depth
Scales the intensity of the effect. This control affects the output of the LFO only. It has
no effect on the outputs of the individual waveforms.
Voices
Controls the number of additional Chorus voices.
Regen
Controls the amount of modulated signal being fed back into the input, creating feed-
back. Higher amounts add more resonance to the signal.
Diffusion
Creates a time-smoothing effect similar to diffusion in reverb. Diffusion can be a
subtle effect to add a little warmth to the chorus.
28
PreDelay
Determines the amount of offset between the two signals that create the flange effect.
Lower values create a tighter effect, higher values result in a more extreme "whoosh-
ing" sound.
Waveform
Selects the wave pattern used by the modulated effect.
Phase
Controls whether amplitude or depth change occurs in both left and right outputs simul-
taneously or alternates between left and right outputs.
Phase Stages
Selects between a 4, 8, or 12 state phase shifter.
Stereo Spread
Increases or decreases the stereo imaging of the Rotary effect.
Drive
Provides overdrive gain to the preamp section of the rotary speaker effect.
Minimum Speed
Sets the minimum speed at which the effect will oscillate.
Maximum Speed
Sets the maximum speed at which the effect will oscillate.
Doppler
Increases or decreases the Doppler pitch effect that is created by the physics of a rotating
speaker.
Shift 1 & 2
Determines the amount of pitch shift or detune shift from the original signal source.
Works best with individual notes.
Delay 1 & 2
Sets the delay time before the pitch shift or detune effect is heard in the Pitch Shift and
Detune effects.
Feedback 1 & 2
Adjusts how much of the shifted signal is sent back through the delay line in Pitch
Shift and Detune for creating cascading arpeggio type effects.
Pan 1 & 2
Sets the pan position in the stereo field for each tap in the 2-Tap Delay.
29
MX300 System Menus
MX300 SYSTEM MENUS

SYSTEM MENUS
The MX300 System menus are where global settings are configured. These include
Program Auto Load, Output Level, and Factory Restore. Changes made to these settings
affect all programs. Press the System button to access these menus. Turn the Page/
Select knob to scroll up and down through the available menus. Press the Exit button
to exit the System Menus.
System Menu
A BYPASS SELECT DRY
B CONTRAST 8
C PROGRAM LOAD MANUAL
Bypass Select
There are four different bypass options for effects and programs (turn
Knob A to select):
Dry – the inputs and outputs of the effects are muted but dry signal
is passed around them.
Mute – The inputs, outputs and dry signal paths are all muted leav-
ing no signal at the outputs.
Input Dry – The inputs to the effects are muted but reverb decay
and delay tails will still finish. Dry signal will also be passed around
the effects.
Input Mute – The inputs and dry paths around the effects are
muted but reverb decay and delay tails will still finish.
Contrast
This utility adjusts the contrast of the Main Display to make it more vis-
ible at different viewing angles. Use Knob B to adjust the display’s view-
ing angle to your liking.
Program Load
MX300 programs can be loaded manually or automatically as each pro-
gram is selected. The default setting is Manual. Use Knob C to select
which method of program loading you need.
System Menu
A INPUT SOURCE ANLG STEREO
B CLOCK SOURCE INT 48KHZ
Input Source
The MX300 has both analog and digital inputs. Depending on which
inputs you will be using, you need to select between analog or digital audio
30
MX300 MX300 System Menus
sources. The MX300 offers three different input sources to select from:
Anlg Mono L (Left), Anlg Stereo, and Digital. Input Source refers to
whether you will be using the analog Input pair or the S/PDIF digital input.
When only a single analog input is to be used, connect to the analog Input
Left input only and select Anlg Mono L as the Input Source. All inputs
(analog and digital) can remain connected simultaneously in the event
you find yourself switching between using both. Use Knob A to select the
appropriate Input Source you will be using
Clock Source
This option allows manual selection of either the internal or external
clock source for the MX300. When set to 44.1kHz, the MX300 utilizes an
internal clock with a 44.1kHz sample rate. When set to 48kHz, the MX300
utilizes an internal clock with a 48kHz sample rate. When set to Digital,
the unit utilizes the S/PDIF input clock source, even if an analog audio
source is used. Refer to The MX300 and Digital I/O section on page 12
for more information on using digital audio sources. Use Knob B to select
the appropriate Clock Source you will be using.
Digital Out
The MX300 can send unprocessed digital audio out its S/PDIF Digital
Output while monitoring processed audio through the analog outputs.
This is useful when you want to record a dry performance digitally, but also
hear effects processing while you are recording. Note: This feature is only
available for signals brought into the MX300 via the analog inputs. It has
no effect on signals being received at the S/PDIF In. Digital in/out signals
are processed normally regardless of whether the Digital Out settings are
set to Dry. To send unprocessed audio out the MX300 digital outputs, use
Knob C to set the Digital Out option to Dry.
System Menu
A ANALOG OUT ANLG STEREO
B ANALOG OUT LEVEL +4dBU
C TEMPO DISPLAY BPM
Analog Output
The MX300 analog outputs can be configured to run in stereo or in mono.
When only a single output cable is to be used, connect to the Output Left
output only and set the Analog Output Mode to Anlg Mono L. Output
Mode only affects the analog outputs. Use Knob A to select between Anlg
Mono L and Anlg Stereo.
31
MX300 System Menus
Analog Out Level

The MX300 outputs can be optimized to run with equipment requiring
different output levels. High end audio systems run at +4dBu levels while
many inexpensive system levels run at –10dBV levels. Consult the technical
guides that came with the equipment you will be connecting the MX300
to so as determine which output level should be selected. Use Knob B to
change between –10dBV or +4dBu.
Tempo Display
MX300 programs can display delay time in two types of units, ms (millisec-
onds) and BPM (beats per minute). Use Knob C to select which units you
want all programs to display delay times in.
System Menu
A MIDI CHANNEL 1
B MIDI PRGM RECEIVE ON
C MIDI CC RECEIVE ON
MIDI Channel
The MX300 is equipped with a MIDI receive channel for receiving incoming
MIDI program changes and CC messages. The MIDI Channel can be set
from 1-16, All channels, or Off. Use Knob A to change MIDI Channel
A settings.

MIDI Program Receive
The MIDI Program receive option lets you enable or disable the MX300
from receiving MIDI program change messages. Disabling MIDI Program
Receive filters all program change messages so that the MX300 will not
respond to them. MIDI CC messages are still received even when this
option is disabled. Use the Knob B to change MIDI Program Receive
options.
MIDI CC Receive
The MIDI CC Receive option lets you enable or disable the MX300 from
receiving MIDI CC messages. Disabling MIDI CC Receive filters all MIDI
CC messages so that the MX300 will not respond to them. MIDI program
change messages are still received even when this option is disabled. Use
the Knob C to change MIDI Receive options.
System Menu
A MIDI CLOCK SYNC SYNC
B FOOTSWITCH (R) BYPASS
C FOOTSWITCH (T) TEMPO
MIDI Clock Sync

The MX300’s MIDI input is able to receive and synchronize delay times
via MIDI clock messages. When set to Sync, Tap Tempo is changed by
32
MX300 MX300 System Menus
incoming MIDI messages. (The Tempo button on the front panel will be
disabled while these messages are being received.) When set to Off, the unit
ignores MIDI Clock messages. Use the Knob A to change MIDI Clock
Sync options.
Footswitch R/T
The MX300 features a footswitch input jack on the rear panel. This lets you
connect the optional 2-button footswitch for remote control of some of the
MX300’s functions. These global footswitch functions are as follows:
Program Up Processor 2 Bypass
Program Down Tap Tempo 1
Program Bypass Tap Tempo 2
Processor 1 Bypass Tap Tempo 1/2
Adjust Knobs B and C to change the footswitch functions.
System Menu
A FACTORY RESTORE NO
Factory Restore
The Factory Restore function erases all user programs and system settings
and returns them to their factory state. To restore the MX300 to the factory
state, follow these steps:
1. From the Factory Restore screen, turn Knob A until the HOLD
<STORE> screen appears. Press the Exit button to abort the
Factory Restore procedure.
System Menu
A FACTORY RESTORE HOLD (STORE)

2. Press and hold the Store button until the white progress bar has
completely disappeared. This will complete the restore procedure and
the MX300 will be returned to its factory state.
Factory Restore
HOLD DOWN ?STORE? BUTTON
TO RESET THE MX300
33
The MX-Edit Editor/Librarian - Windows® and Mac®
THE MX-EDITTM EDITOR/LIBRARIAN

- WINDOWS® AND MAC®
The included MX-Edit Editor/Librarian software lets you create, edit, compare, save and
load reverb and effects programs for use with your MX300 on your Windows or Mac
computer. While the MX300 has a finite number of User program locations, you can
create and save as many programs as you like on your computer, and load them into
your MX300 via a USB or MIDI connection at any time.
The Mac and Windows versions of the MX-Edit Editor/Librarian are almost identical in
functionality. One noticable difference is the Editor window's position; it's fixed in the
Windows version, and free-floating in the Mac version. For additional differences and
features in the Mac version, refer to the readme.txt file on the CD.
INSTALLING THE MX-EDIT EDITOR/LIBRARIAN

SOFTWARE - WINDOWS
MINIMUM SYSTEM REQUIREMENTS - WINDOWS

Before installing the MX-Edit Editor/Librarian software, make sure that your computer
meets the following minimum requirements:
• Pentium-III, 500 MHz or better. (1.2 GHz recommended)

• Windows XP, Service Pack 2 or higher, .NET 2.0 installed
• 512 MB RAM (1 GB recommended)
To install the included MX-Edit Editor/Librarian software in Windows XP, insert the
provided disc into your computer’s CD-ROM drive. You will be guided through the
installation process – just follow the on-screen instructions and prompts. Note that
you will be prompted to connect the MX300 via the USB port during the installation
process. In order for your computer to recognize the MX300 connection, it is necessary
to have the MX300 powered on and connected via a standard USB cable.
Important: If you do not have the MX300 plugged in and turned on when the install
program runs, installation may fail. You may need to run the installation program
again after connecting the MX300. Also note that you can re-run the installation
program in Modify mode, which is useful for installing drivers on a different USB port
than the port originally connected to. This can be done with the disc, or via the Control
Panel's Add/Remove Programs option (in Windows).
INSTALLING THE MX-EDIT EDITOR/LIBRARIAN

SOFTWARE - MAC
MINIMUM SYSTEM REQUIREMENTS - MAC

Before installing the MX-Edit Editor/Librarian software, make sure that your computer
meets the following minimum requirements:
• OSX 10.4.x
• Power PC or Intel® G4, G5 processor
34
MX300 The MX-Edit Editor/Librarian - Windows® and Mac®
• 800 MHz (1.2 GHz recommended)

• 512 MB RAM (1 GB recommended)
To install the MX-Edit and Audio Units software for Macintosh® computers, insert the
provided disc into the CD-ROM drive and double-click on the disc icon when it appears.
Double-click on the MX300.dmg.hqx file to extract and run the installer. Follow the
on-screen prompts to install the software.
The installer sets up the standalone MX-Edit Editor/Librarian application in the

Applications folder and the MX-Edit Audio Unit in the Components folder.
QUICK START
When you first open MX-Edit, you will see the MX-Edit Library on the left side of the
MX-Edit window, with the MX300 icon at the top of the Library. An editor panel for the
current program is also open.
Double-click the MX300 icon to expand the Library, then double-click the Factory or
User icons to see the Factory or User program lists. The Factory list will always be the
same, as Factory programs cannot be changed; the User program list will represent the
programs currently residing in the User program locations in your MX300 hardware.
Double-click a program name to open it in the editor. The program settings are reflect-
ed in the Parameter knobs and buttons in the Program Editor window.
The selected program is now loaded in your MX300. Any changes made in the MX-Edit
Program Editor window will also occur simultaneously on the MX300 hardware.
35
The MX-EditTM Editor/Librarian - Windows® and Mac®
THE MX-EDITTM LIBRARY

The MX-Edit Library contains the Factory and User programs that are currently loaded
in your MX300. When you first open MX-Edit, it communicates via USB (or MIDI) with
the MX300 hardware, and populates the Library with all the information about each of
the Factory and User programs stored in MX300’s physical memory.
To view programs in the Library window, click the MX300 tab in the upper left corner,
then double-click the Factory or User icon to expand the Library and see the Factory or
User program lists. The Factory list is always the same, as Factory programs cannot be
overwritten; the User program list represents the User programs currently saved in your
MX300 hardware.
The Library can support multiple MX300 devices at the same time. Each device that is
connected to the Library is represented by a name and an icon next to the tool bar (just
below the menus). To view, load, and edit programs for a device, click its icon.
EDITING A PROGRAM
To open a program, choose one of the following:
• To open a Factory or User program from the MX-Edit Library, double click on
that program number in the Library window.
• To open a program that has been saved to your computer (but doesn’t appear
in the MX-Edit Library), click File and select Open Program. By default, the
Open dialog looks in the My Documents folder (or the last folder that
a program was opened from). Double-click the program to load it.
• To open a program with the currently active settings from the MX300, select
Open Current Program in the Device menu. This will retrieve all current
settings from the MX300, and display those settings in the Program Editor panel.
36
MX300 The MX-EditTM Editor/Librarian - Windows® and Mac®
THE MX-EDITTM PROGRAM EDITOR

The MX-Edit Program Editor lets you quickly and easily view, compare and edit any
program stored in the MX300, or programs saved to your computer.
MX-Edit gives you all the same control and functionality as the MX300 front panel,
with the exception of Input control and System functions.
All changes that you make in the active Program Editor window are reflected in real-
time on the MX300. MX-Edit and the MX300 are fully interactive, so any changes made
on the MX300’s front panel are reflected in real-time in the MX-Edit Program Editor
window as well.
When you open a program, the MX-Edit Program Editor is updated with the selected
program’s name in the Program Name field, and you're prompted to save any previous
edits. The settings of the loaded program are reflected in the Parameter knobs and but-
tons, and are loaded into the MX300 hardware.
SIGNAL ROUTING OPTIONS

To change the MX300’s Routing, left click on the Routing button in the Input/
Routing control area. A list of the MX300’s Routing options appears, with a check
mark next to the currently selected routing. Highlight an item in the list and left click
to select and load it. A routing diagram appears next to the Routing button, and the
routing name is shown in the button.
REVERB/EFFECT SELECTION BUTTONS
To change a reverb or effect in Processor 1 or Processor 2, left click on the Reverb/

Effect Select button in Effect 1 or Effect 2 control area. A list of the MX300’s reverbs
and effects appears, with a check mark next to the currently selected reverb or effect.
Highlight an item in the list and left click to select and load it. Notice that the reverb
37
or effect name now appears in the Reverb/Effect Select button, and the Parameter
knobs in MX-Edit change position, layout, and number, depending on the default val-
ues for the selected reverb or effect.
ADJUSTING KNOBS
To make editing in MX-Edit easy and intuitive, there are three ways to adjust knobs in
MX-Edit:
Mouse - Circular
Place the cursor at the outer (shadowed) edge of a knob, then click and hold the left
mouse button. The white indicator line on the knob jumps to the mouse cursor’s
position, and follows the cursor as it moves around the circumference of the knob.
To make fine adjustments, continue to hold the left mouse button down and move
the cursor away from the knob; the white line still follows the cursor, no matter how
far away it is from the knob. (Note that this control does not apply to Macs; hold the
Option key to make fine adjustments.)
Mouse – Up / Down
Move the mouse cursor to the center of a knob; the knob is highlighted, and the cur-
sor changes to a double-headed arrow, pointing up and down. Click and hold the left
mouse button, causing the cursor to disappear. Move the mouse up to turn the knob
higher, or move the mouse down to turn the knob lower. For very fast edits, press and
hold the Ctrl key on your computer keyboard while moving the mouse; this multiplies
the adjusted value by a factor of 10 (Windows® only).
Arrow Keys
Highlight, then left-click on a knob to select it. Use the up (or right) arrow key to turn
the knob higher and increase the value; use the down (or left) arrow key to turn the
knob lower, decreasing the value. This is a very effective method for making small
adjustments to fine-tune your settings. For faster modifications, press and hold the Ctrl
key on your computer keyboard while pressing an arrow key to multiply each adjust-
ment by a factor of 10 (Windows only).
TEMPO
If one of the MX300’s delays is selected, the Tempo button in that processor becomes
active, and begins to flash at the Tempo rate. The tempo value is shown in milliseconds
(ms), and a musical note appears next to the displayed Delay Time. When the Delay
Time parameter is adjusted, exact divisions of time in milliseconds relative to the flash-
ing Tempo rate will cause a note value to be displayed next to the time, e.g. 16th note,
dotted-8th note, etc. The Tempo button will continue to flash at the originally select-
ed tempo, but the delay taps will occur at the rate displayed in the Delay Time value.
To change the tempo value, simply place the mouse cursor over the Tempo button,
and left-click twice to tap the tempo, just as you would on the MX300 front panel. The
Tempo buttons on the MX300 and in the Program Editor window now flash at the
new tempo.
38
MX300 The MX-EditTM Editor/Librarian - Windows® and Mac®
If a non-delay effect is loaded in the processor, the Tempo button is dimmed and
inactive.
BYPASS
To engage the Bypass button (and turn off the selected effect), place the mouse cur-
sor over the Bypass button, and left-click to bypass that processor.
PROGRAM NAME
To create or change a program’s name, simply left click once anywhere in the Program
Name field. The program name will be highlighted; type the new name into the text
box.
SAVING A PROGRAM
If you make any changes to a program, an asterisk (*) will appear next to the program
name in the Title Bar when the Program Editor is active. The LED on the Store but-
ton on the MX300’s front panel also illuminates, indicating a change from the loaded
program.
To save a program to disk, click File and select Save or Save As, and enter a file
name. By default, programs are saved to your computer in the My Documents
folder; to choose a different location, simply navigate to a different folder or create a
new folder in which to save your MX300 program files. (For example, C:\Documents
and Settings\username\My Documents\MX300 Presets). Click the Save
button to complete the process.
You can also save a program simply by closing the Program Editor window. If any
changes have been made to the loaded program, a dialog box appears, asking if you
want to save your changes. Click Yes to save the changes, No to close without saving,
or Cancel to return to the Program Editor window. If you choose this method to save
your changes, the current program will be over-written; to save the program as a new
file with a different name (and keep the loaded program’s settings intact), click File
then Save As.
MX300 programs are given the file extension .MX300p, and they can be copied, moved,
attached to emails – anything you can do with a standard document or file. These
files should, however, only be opened by MX-Edit Editor/Librarian software to prevent
corruption.
STORING A PROGRAM
To store a program into one of the User program locations in the MX-Edit Library
(and the corresponding location in the MX300’s physical memory), open the program
you wish to store. With the Program Editor window active, click Device, then Store
Program. The Store to Device dialog appears, allowing you to choose the User
program location and program name to store with it. Be aware that storing a program
in this manner will over-write the program previously stored in that location, both in
the MX-Edit Library and the MX300 itself. Click Save to store to the selected User pro-
gram location. To cancel the operation, click Cancel, or close the Store to Device
dialog box.
39
To rename a User program in the Library, right-click on its name in the Library win-
dow and select Rename. Type in the new name and press Enter to save the change.
Since the Factory programs can never be over-written, you cannot store to nor rename
a Factory program location. You may edit a Factory program, but it must be stored to a
User program location or to a file.
ARCHIVING
Archiving is a powerful tool for preserving the current state of your MX300. When you
archive the MX300, all of its presets and global settings are sent to the computer and
saved to a file. When an archive is restored, the MX300 is configured exactly how it
was when you archived it. This allows you to not only create safety backups, but create
unique configurations for various purposes. For example, you might want to create
a setup specifically for that gig you’re playing on the weekend, but still keep all your
favorite studio presets intact. Use MX-Edit’s Backup feature to archive the MX300’s
settings, then modify and store anything and everything you want, without worrying
about reprogramming all your previous programs and settings.
To archive the MX300, click Device and select Backup. A warning will appear,
advising you that a full Backup may take a few minutes, and asking whether you
wish to proceed. To cancel without creating a Backup archive, click Cancel or close
the dialog box. To proceed, click OK. A progress bar appears at the bottom of the
MX-Edit screen, indicating that a Bulk Dump is in process. When all the MX300 data is
received, a Save dialog box appears. The default file name is the current day and date
(e.g. Backup Wednesday, January 24, 2007 ) with the file extension .mx300a
(MX300 Archive file) for Windows® and Mac®. Click Save to store the Backup Archive
file.
To restore a saved archive, click Device and select Restore. When prompted, select
an MX300 archive file, and click Open. MX-Edit then sends the MX300 archive to your
MX300, replacing all the data in the hardware with the archived data.
Note: It is a good idea to create a new Backup archive file anytime you plan to restore
the MX300 from a previous archive session.
40
MX300 Using the MX300 as a Hardware Plug-In
USING THE MX300 AS A

HARDWARE PLUG-IN
The MX300 comes with VST™ and Audio Units software which allows you to use the
MX300 as a Hardware Plug-In. Now you have access to classic Lexicon® reverbs and
effects within your software recording projects, with full automation and total recall,
without burdening your CPU! Using the MX300 with the VST and Audio Units software
works much like any other plug-in you’d use with a DAW, except that the audio is
routed through the MX300 for the signal processing.
MINIMUM SYSTEM REQUIREMENTS

Audio
I/O hardware with a minimum of two inputs and two audio outputs.
Windows®
P-III, 500 MHz or better, WinXP Service Pack 2 or higher plus a VST-compatible
Software Recording Package
Mac
OSX 10.4 or higher plus Audio Units compatible Software Recording Package
INSTALLING THE MX-EDIT HARDWARE PLUG-INS

Note: If you have already installed the MX-EditTM software for Mac or WinXP, you
have already installed the VST and/or Audio Units software. Simply skip this section.
FOR WINDOWS XP USERS

To install the software in Windows, insert the disc into your CD-ROM drive and fol-
low the on-screen prompts. (If the Autorun feature is disabled, browse to the CD and
double-click on the setup.exe file.)
FOR MAC USERS

To install on a Mac, insert the disc into your CD-ROM drive and double-click on the
disc icon when it appears. Double-click on the MX300.dmg file to extract and run the
installer. Follow the on-screen prompts to install the software.
CONNECTING THE MX300
USB CONNECTION
Make sure the MX300 is powered up and connected to your computer with a standard
USB cable. (For Windows XP users, make sure the MX300 is plugged into the same USB
port as when the software was loaded.)
AUDIO CONNECTIONS
To use the MX300 as a hardware plug-in, your computer needs audio hardware with
multiple audio inputs and outputs available, at least enough to send and return two
channels from the MX300 plus two additional outputs to monitor with.
41
Using the MX300 as a Hardware Plug-In
For lower latencies and the best audio performance, it is recommended that you con-
nect the MX300 to your computer’s audio I/O device using the S/PDIF input and out-
put. If your I/O device does not have a S/PDIF connection, or if it already connected to
another device, you may use the analog connections from your computer’s I/O device
to the 1/4” analog inputs and outputs on the MX300.
Important: The MX300 accepts digital audio at 44.1kHz and 48kHz sample rates.
Do not connect any digital device to the MX300’s S/PDIF Input that transmits at any
other sample rate (such as 96kHz). Doing so can cause unpredictable performance.
Make sure your recording project is set to either 44.1kHz or 48kHz sample rate to avoid
problems.
SOFTWARE CONFIGURATION
Because the audio is being processed within the MX300 hardware, and not inside your
computer, your DAW (Digital Audio Workstation, or Recording Software) needs to be set
up to send and receive audio to and from the MX300.
Many DAW’s have built-in routing configurations for this; consult your software’s docu-
mentation for information about setting up external routing options.
Steinberg® Cubase SX® users: see information on “External FX” connections.
Logic® Audio users: see information about “I/O Insert Plug-Ins.”
Cakewalk® Sonar™ users: see information about “Adding Send / Return Effects to
a Bus”
Note: The plug-in will fail to connect if the Lexicon MX300 Control MIDI port has
been captured by the DAW. Check your DAW’s MIDI device settings if you experience
connection problems.
If your software does not provide specific information about these types of configura-
tions, you can set up the connections yourself. Each recording platform will vary
slightly, but the basic principles are the same.
TO SET UP A SEND AND RETURN PATH

1. Create a Stereo Bus (or two audio busses) that are different from your Main
Mix (Master) Bus.
2. Route these busses to the outputs on your audio I/O hardware that you have
connected to the MX300 (Either the S/PDIF output, or two analog outputs).
3. In your VST or Audio Units Send Effects Routing options, send the MX300’s
effect sends to the Stereo Busses (or Bus Pair) you created in Step 1.
4. Create two audio tracks whose inputs correspond to those you connected to
the MX300 (Either the S/PDIF input, or two analog inputs).
5. Route these tracks to the Main Mix (Master) Bus.
42
MX300 Using the MX300 Plug-In Window
If you have followed these steps correctly, when you open an instance of the MX300
plug-in, its audio path will lead it to the bus pair you created, which will send the
audio to the MX300. The processed audio is then sent from the MX300 through your
audio hardware’s inputs to the two audio tracks you created in Step 4, and monitored
through the Main Mix Bus, just as you would any audio or plug-in effect.
USING THE MX300 PLUG-IN WINDOW

In your DAW, open the Lexicon MX300 plug-in. You’ll see an instance of the Program
Editor window. You can use the MX300 plug-in software just as you would any other
plug-in: Session Recall, automation – everything behaves just as any other VSTTM or
Audio Unit plug-in. The primary difference is that the audio processing occurs in the
MX300 rather than on your computer. And, since the MX300 is a physical device, you
can only open one instance (per physical device) of the plug-in window. If you attempt
to open more than one plug-in window, the message shown below will appear.
This message will also appear if the MX300's MIDI ports are being used by the DAW or
another application.
CONTROLS
The MX300’s Plug-In window functions much like the MX-Edit Program Editor win-
dow described on page 37.
43
MIDI Implementation Chart
MIDI IMPLEMENTATION CHART

Function Transmitted Recognized Remarks
Basic Channel Default X 1
Changed X 1-16, Omni, Off
Mode Default Mode 2
Messages X X
Altered X
Note Number True Voice X X
Velocity Note ON X X
Note OFF X X
After Touch Keys X X
Channels X X
Pitchbend X X
Control Change X 1-127 See MIDI CC list
Program Change True # X 0-98 = 1-99 See Program Mapping
Bank Select X 0 MIDI CC 32
Value 0 = Factory,
Value 1 = User
Lexicon Editor Only.
Sys Ex channel follows
MIDI channel except
System Exclusive 0 0 when MIDI channel is
set to Off, where Sys
Ex channel then re-
ceives on all channels.
System Common Song Position X X
Song Select X X
Tune X X
System Real Time Clock X 0 MIDI clock can set
Delay Tempo.
Commands X X
0 = Yes Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO

X = No Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO
44
MX300 MIDI CC Map - Routings 1-4
MIDI CC MAP - ROUTINGS 1-4, DUAL STEREO EFFECTS

MIDI CC #
Effect 1/2 14/21 15/22 16/23 17/24 18/25

Small Hall Pre Delay Decay / Mid RT Liveliness
Large Hall Pre Delay Decay / Mid RT Liveliness
Small Plate Pre Delay Decay / Mid RT Liveliness
Large Plate Pre Delay Decay / Mid RT Liveliness
Chamber Pre Delay Decay / Mid RT Liveliness
Room Pre Delay Decay / Mid RT Liveliness
Studio Pre Delay Decay / Mid RT Liveliness
Ambience Pre Delay Decay / Mid RT Liveliness
Vocal Hall Pre Delay Decay / Mid RT Liveliness
Vocal Plate Pre Delay Decay / Mid RT Liveliness
Drum Hall Pre Delay Decay / Mid RT Liveliness
Drum Plate Pre Delay Decay / Mid RT Liveliness
Arena Pre Delay Decay / Mid RT Liveliness
Gated Pre Delay Decay Diffusion
Reverse Pre Delay Decay Diffusion
Spring Pre Delay Decay Boing
Studio Delay Tempo Delay Time Feedback Ducker Threshold Tap Tempo
Mono Delay Tempo Delay Time Feedback Ducker Threshold Tap Tempo
Tape Delay Tempo Delay Time Feedback Smear Tap Tempo
Pong Delay Tempo Delay Time Feedback Tap Ratio Tap Tempo
Modulated Delay Tempo Delay Time Feedback Modulation Depth Tap Tempo
Reverse Delay Tempo Delay Time Feedback Smear Tap Tempo
Chorus Speed Depth Voices

Flanger Speed Depth Regen
Phaser Speed Depth Regen
Tremolo / Pan Speed Depth Phase
Rotary Speed Doppler Stereo Spread
Vibrato Speed Depth Phase
Pitch Shift Shift Amount Down/Up Shift High Pass Filter
Detune Shift Amount Shift Amount Stereo Spread
De Esser Ratio Frequency Bandwidth
Compressor Ratio Threshold Gain
Effect 1/2 12/19 13/20 26/27 28

Effect Type Bypass Mix Routing
45
MIDI CC Map - Routing 5
MIDI CC MAP - ROUTING 5, STEREO EFFECTS

MIDI CC #
Effect 14 15 16 17 26
Hall Reverbs Pre Delay Mid RT Size Shape
Plate Reverbs Pre Delay Mid RT Size Shape
Chamber Reverb Pre Delay Mid RT Size Shape
Room Reverb Pre Delay Mid RT Diffusion Shape
Ambience Reverb Pre Delay Size Diffusion Shape
Gated / Reverse Reverb Pre Delay Decay Diffusion
Spring Reverb Pre Delay Decay Boing
Stereo Studio Delay Tempo Delay Time Feedback High Pass Filter Tap Tempo
Mono Delay Tempo Delay Time Feedback High Pass Filter Tap Tempo
Pong Delay Tempo Delay Time Feedback High Pass Filter Tap Tempo
2-Tap Delay Tempo Delay Time Feedback Delay Type Tap Tempo
Modulated Delay Tempo Delay Time Feedback High Pass Filter Tap Tempo
Tape / Reverse Delay Tempo Delay Time Feedback Pan Tap Tempo
Chorus Speed Depth Voices Pre Delay

Flanger Speed Depth Regen Waveform
Phaser Speed Depth Regen Waveform
Tremolo/Panner Speed Depth Phase Waveform
Rotary Speed Stereo Spread Drive Rotor Minimum
Vibrato Speed Depth Phase Waveform
Pitch Shift / Detune Shift 1 Delay 1 Feedback 1 Shift 2
DeEsser Ratio Frequency Bandwidth
Compressor Ratio Threshold Gain Attack
Effect 1 12 13 27 28
Efffect Type Bypass Mix Routing
Effect 1 29 30 31
Assign A Assign B Assign C
46
MX300 MIDI CC Map - Routing 5
MIDI CC MAP- ROUTING 5, STEREO EFFECTS (continued)

MIDI CC #
Effect 18 19 20 21 22 23 24 25
RT High High Bass Boost Bass
Hall Reverbs Spread Diffusion ER Time ER Level
Cut Cut Freq Boost
RT High High Bass Boost Bass Feedback Feedback

Plate Reverbs Spread Diffusion
Cut Cut Freq Boost Delay Level
RT High High Bass Boost Bass

Chamber Reverb Spread Diffusion ER Time ER Level
Cut Cut Freq Boost
RT High High ER ER
Room Reverb Spread
Cut Cut Time Level
RT High High
Ambience Reverb Spread
Cut Cut
Ducker Ducker
Stereo Studio Delay Low Pass
Level Thresh
Ducker Ducker
Mono Delay Low Pass Pan
Level Thresh
Ducker Ducker Tap Tap

Pong Delay Low Pass
Level Thresh Ratio Swap
2-Tap Delay Tap 1 Level 1 Pan 1 Tap 2 Level 2 Pan 2
Mod
Modulated Delay Low Pass
Depth
Tape / Reverse Delay Smear
High Pass
Chorus Waveform Diffusion
Filter
Flanger PreDelay Phase
Phaser Phase
Horn Horn
Rotary Rotor Doppler
Minimum Maximum
Feedback Pan Pan

Pitch Shift / Detune Delay 2
2 1 2
Compressor Release Knee
47
Programs
PROGRAMS
Preset Name Routing Preset Name Routing
1 Orchestral Stereo 26 Big Chamber Stereo
2 Small But Large Stereo 27 Small Chamber Stereo
3 Gothical Stereo 28 Dry Chamber Stereo
4 ConcertVerb Stereo 29 Small Room Stereo
5 Fan Tastic Stereo 30 Brick House Stereo
6 Wide Load Stereo 31 The Spacialist Stereo
7 Realism Stereo 32 60’s GuitarVerb Stereo
8 Tight Plate Stereo 33 Ambiverb Stereo
9 Live Hall Stereo 34 Sizzlin Stereo
10 Vocality Stereo 35 Smallis Hallis Stereo
11 Male Vocal Stereo 36 Metallic Stereo
12 Big Wide Vocal Stereo 37 In Reverse Stereo
13 Choir Plate Stereo 38 Solo Plate Stereo
14 Omenlike Vocal Stereo 39 Very Small Hall Stereo
15 Vocalized Stereo 40 Long GateVerb Stereo
16 Acoustic Plate Stereo 41 RetroVerb Cascade
17 AC Chamber Stereo 42 Chorus + Plate Mono Split
18 AC Room Stereo 43 Vocal Hall+Plate Mono Split
19 AC Ambience Stereo 44 Tuned Room Cascade
20 Big Snare Stereo 45 EchoVerb Cascade
21 Poppy Snare Stereo 46 Acoustic Chamber Cascade
22 Kick Thunder Stereo 47 Ambient Chamber Mono Split
23 Percusso Plate Stereo 48 Acoustic Bliss Mono Split
24 Snare Plate Stereo 49 Springtime Cascade
25 Slappy Snare Stereo 50 Extra Roomy Cascade
48
MX300 Programs
Preset Name Routing Preset Name Routing
51 Quickie Cascade 76 Brewed Awakening Dual Mono
52 Guitar World Cascade 77 Jet Flange Cascade
53 ‘60s Delay Cascade 78 Phaser Taser Cascade
54 Vocal Chorus Cascade 79 The Low Down Dual Mono
55 Choral Hall Cascade 80 And Then Some Cascade
56 Tape Chorus Cascade 81 Gated Snare Parallel
57 Plate + Hall Dual Mono 82 Snare Delay Cascade
58 Vocal + Inst 1 Mono Split 83 Drum Delay Cascade
59 Vocal + Inst 2 Mono Split 84 Drum Echo Cascade
60 Vocal + Inst 3 Mono Split 85 Tempo Gate Cascade
61 Alive N’ Kicking Mono Split 86 Snare + Toms Mono Split
62 Muy Grande Dual Mono 87 Drum Plate+Hall Mono Split
63 Taps Cascade 88 Vibraslap Dual Mono
64 Tap Chamber Cascade 89 Vibrato Mono Split
65 Spaced Out Cascade 90 Spin Cycle Cascade
66 Tried And True Mono Split 91 Role Reversal Cascade
67 Spring Studio Mono Split 92 Get Some Parallel
68 Hit Me Cascade 93 Rewind Cascade
69 Modulated Delay Cascade 94 Back At Ya Mono Split
70 Rock Lead Mono Split 95 Delay Wars Mono Split
71 Mod U Verb Cascade 96 Pitch Out Cascade
72 Roto Verb Cascade 97 Huh? Cascade
73 Hammond Delay Cascade 98 Voice of Evil Cascade
74 Vibrolux Dual Mono 99 Wayback Machine Cascade
75 Wobblers Mono Split
49
Specifications
SPECIFICATIONS
Analog Audio Inputs
Connectors two XLR and two ¼" TRS balanced or unbalanced
Impedance 50k Ohms bal., 25k Ohms unbal.
Input Level +4 dBu nominal, +24 dBu maximum
A/D Conversion 24-bit, 48kHz or 44.1kHz, 128 x oversampling
Analog Audio Outputs

Connectors two XLR and two ¼" TRS balanced or unbalanced
Impedance 2k Ohms bal., 1k Ohms unbal.
Output Level +4 dBu or –10 dBV nominal (software adjustable), 24 dBu maximum
D/A Conversion 24-bit, 48kHz or 44.1kHz, 128 x oversampling
Analog Audio Performance (Effects Bypassed)

Frequency Response 10 Hz – 20kHz +0 dB/–0.5 dB
THD+N <0.0019% 10Hz – 20kHz
Dynamic Range >109 dB (A-weighted) A/A
Crosstalk typical < –80 dB 20Hz – 20kHz
Digital Input and Output

Connectors RCA phono (S/PDIF)
Format S/PDIF 24-bit
Sample Rate 44.1 or 48kHz
Frequency Response 10Hz to 22kHz ±0.5 dB @ 48kHz
Control Interface
USB USB 1.1 for MX-EDIT™ Editor/Librarian and VST™/Audio Units plug-ins
MIDI In/Out 5-pin DIN
Foot Pedal ¼" TRS phone jack
General
Size (W/H/D) 19" x 1.75" x 7.25"*/6.375"
(483 x 44 x /185mm*/162 mm)
Weight 5.8 lbs (2.6 kg)
Operating Voltage: 100-120 VAC 50/60 Hz -EU 220-240 VAC 56/60 Hz

Power Requirements 18 Watts
The MX300 is manufactured to operate from a specific supply voltage. There are two different models, one
which accepts 100V-120V, and another which accepts 220V-240V mains. All units sold in North America are for
100V-120V only. You cannot operate a 100V-120V MX unit using 220V-240V power. The supply voltage is marked
on the back of the unit.
Model Operating Voltage Power Requirements

MX300 100-120 VAC 50/60 Hz 18 Watts
MX300-EU 220-240 VAC 56/60 Hz 18 Watts
* Including knobs.
50
Phone: (801) 566-8800
Website: lexiconpro.com
Support: lexiconpro.com/en-US/support
MX300 Owner's Manual

PN: 18-0473V-D
Copyright 2014 Lexicon®

Printed in China

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MX300 Stereo Reverb

READ THESE INSTRUCTIONS.

KEEP THESE INSTRUCTIONS.

HEED ALL WARNINGS.

FOLLOW ALL INSTRUCTIONS.

Do not defeat the safety purpose of the polarized or grounding-type plug. A

SAFETY INSTRUCTIONS Safety: IEC 60065 -01+Amd 2

LIRE CES CONSIGNES.

CONSERVER CES CONSIGNES.

RESPECTER TOUS LES AVERTISSEMENTS.

SUIVRE TOUTES LES CONSIGNES.

2. Lexicon Professional warrants this product, when purchased new from an

3. Lexicon Professional's liability under this warranty is limited to repairing or, at

4. Lexicon Professional reserves the right to make changes in design or make

THE FRONT PANEL......................................................................4

THE REAR PANEL........................................................................6

CONNECTING THE MX300.........................................................8

THE MX300 AND DIGITAL I/O....................................................12

USING THE MX300.....................................................................13

MX300 SYSTEM MENUS.............................................................30

THE MX-EDITTM EDITOR/LIBRARIAN - WINDOWS® AND MACTM...34

USING THE MX300 AS A HARDWARE PLUG-IN...........................41

MIDI IMPLEMENTATION CHART...................................................44

STANDARD PARALLEL CONNECTION

Aux Aux Aux Aux

POWERING THE UNIT

SET AUDIO LEVELS

SELECT AND LOAD A PROGRAM

Program Number Display

THE FRONT PANEL

4. Page / Select Knob

12. User and Factory LEDs

13. Program Number Display

14. Program / Load

15. Power Switch

THE REAR PANEL

4. MIDI In, MIDI Thru

5. S/PDIF Digital In/Out

6. Balanced Analog Line Output Pair

7. Balanced Analog Line Input Pair

CONNECTING THE MX300

Mixer – Stereo Setup

Aux Aux Aux Aux

Mixer - Mono In/Stereo Out Setup

Aux Aux Aux

Mixer - Dual Mono In/Stereo Out Setup

Aux Aux Aux Aux

Mixer - Dual Mono In/Out Setup

Aux Aux Aux Aux

Guitar - Effects Loop Setup

Instrument - In Line Setup

Studio – Digital Setup

THE MX300 AND DIGITAL I/O

USING THE MX300

Editing From the Program Display

Editing From the Program Edit Menus

Edit 1 Tape Delay

CONSERVER CES CONSIGNES. 

RESPECTER TOUS LES AVERTISSEMENTS. 

SUIVRE TOUTES LES CONSIGNES. 